FADE IN:
INT. INSIDE A LONDON TUBE STATION - LATE NIGHT
On a cold, winter night, SEEK, a handsome and fit, sixty-ish
man (who appears younger), boards a train as a married couple
exit. SEEK enters and takes a seat. He notices an attractive
woman in her mid- to late-forties, MARYANNE, being verbally
abused by three tough looking, young cockneys.
FIRST TOUGH
(fingering the coat lapel)
Come on, luv, it’s stuffy in ‘ere.
Yer knows yer gots to open yer
coat.
The other two toughs grin lasciviously as they hover nearby.
SECOND TOUGH
Right, missus, yer’ll burn up in
‘ere if yer don’t undo yer buttons.
THIRD TOUGH
She ain’t no missus. She ain’t got
a ring.
MARYANNE
Stop it, you ruffians.
FIRST TOUGH
Wha’s a matter, luv, no man waitin’
up at ‘ome for yer? Us three can
take care o’ tha’.
SECOND TOUGH
I’d ‘azard a guess she’s loaded
down with ‘er night’s tips, I
would.
FIRST TOUGH
(to his companions)
We’ll ‘ave to lighten ‘er burden
then, ‘ey mates?
MARYANNE tries to stand in order to get past the toughs.
FIRST TOUGH pushes her back into her seat.
FIRST TOUGH (CONT’D)
Don’t runs off luv, we’re all set
to pl’y a little gyme. An’ yer the
prize.

2.

MARYANNE
Leave me alone.
They laugh in a way which portends imminent danger.
SEEK
Hey you three, the lady told you to
leave her alone.
FIRST TOUGH
(turning to SEEK)
Right, mates, a do-good wanker.
Show ‘im wha’ we think o’ do-good
wankers while I keeps me eye on our
prize ‘ere, eh.
THIRD TOUGH
Right. Maybe ‘e’s got a few bob we
can nick while we’re at ‘im.
SECOND TOUGH and THIRD TOUGH move toward SEEK menacingly. A
scuffle ensues. SEEK holds his own against the two toughs,
knocking THIRD TOUGH down immediately and tying up SECOND
TOUGH in a clinch.
FIRST TOUGH walks away from MARYANNE to assist in subduing
SEEK. Coming up from behind SEEK and catching him unaware,
FIRST TOUGH hits SEEK hard on the head, knocking SEEK down.
THIRD TOUGH regains his feet and all three toughs kick SEEK
while he’s down. FIRST TOUGH kicks SEEK in the head multiple
times. Coagulating blood stains SEEK’s face, the floor of the
train, and FIRST TOUGH’s boot.
The train enters another station. A few people gather on the
platform. The train slows to a stop too soon for the toughs
to harm MARYANNE, but while still kicking SEEK. MARYANNE
pulls out her cell phone to call the police. As the doors
open, the three toughs run off into the night.
FIRST TOUGH
(yelling back as he runs
out the door)
I’ll be watching for yer again,
luv, the gyme’s not over, eh. We
‘aven’t ‘ad our prize yet.
SEEK lays on the floor of the train, unconscious.
MARYANNE
(to boarding passengers)
Help me get him out of here. I’ll
call for assistance.

3.

Two men lift SEEK off the train and lay him on the platform.
CUT TO:
INT. A HOSPITAL ADMITTING ROOM - SHORTLY LATER
SEEK lays on a gurney, being wheeled out of the admitting
room. A concerned MARYANNE watches him be wheeled away. A
POLICE OFFICER stands next to her.
POLICE OFFICE
He had a rough go of it.
MARYANNE
Yes. He didn’t have to challenge
those three ruffians. Though, I
don’t know what might have happened
to me if he hadn’t.
POLICE OFFICER
A good man. Not as many of them
around these days as there once
were. Can you tell me anything
about the attackers’ appearances?
MARYANNE
I can’t remember two of them very
well at all, but I’ll never forget
the face of the one who must have
been the leader. Even the way he
looked at me made me feel violated.
POLICE OFFICER
It’s a shame you’ve been though
this, miss. I’ll have a sketch
artist get in touch and the
department will circulate the
drawing. We’ll nab him soon enough.
MARYANNE
Thank you officer; I hope so. I’ll
stay in the waiting room for a
while. I want to be certain he’s
going to recover.
POLICE OFFICE
I understand.
CUT TO:

4.

INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS
SEEK lays on a table being administered to by a physician and
two nurses while a couple of orderlies are also present. Out
from his body, the wispy form of SEEK’s astral body emerges.
As he leaves his body, the EKG flatlines. SEEK’s astral body
rises to the ceiling where, astrally hovering, he looks down
on the action of the medical personnel taking care of his
wounds and reacting to the flatlining EKG.
DOCTOR
Get the defibrillator, we’re losing
him.
NURSE
Right away, doctor.
DOCTOR
(to an orderly)
Let the woman in the waiting room
know it’ll be a while and
complications have arisen.
The orderly exits as both nurses and the remaining orderly
set up the defibrillator.
SEEK’s astral body rises up through the ceiling.
CUT TO:
INT. THE HOSPITAL WAITING ROOM - CONTINUOUS
The orderly enters the waiting room finding MARYANNE alone.
ORDERLY
Ma’am, it may be a while longer.
The doctor ran into complications.
MARYANNE
What kind of complications?
ORDERLY
His heart’s stopped, ma’am.
CUT TO:
EXT. THE NIGHT SKY - CONTINUOUS
SEEK’s astral body glows as it rises up into the sky which
lightens with the breaking of dawn. He continues to float up,
passing through a cloud and emerging from the top of it.

5.

Ultimately, SEEK stands on the cloud and sees a 1967, VW van
painted in psychedelic colors and designs. SEEK walks over to
the driver’s door, opens it, and enters the van, taking the
seat behind the wheel. By now, the brightening sky awakens
into morning. A dark crack cuts the sky in front of SEEK.
Wind closes the driver’s door and lifts the van off the
cloud, carrying it through the crack which opens into a rift.
DISSOLVE TO:
EXT. A CGI SKY VIEW OF A SPRAWLING GARDEN - A FOGGY MORNING
A sprawling lawn extends out from a garden. Ten foot tall yew
hedges divide up a maze of grassy squares. Nearby, other
square hedges of three foot yews contain flowers. A specific
color and flower type, different from the color and flower of
each other square, composes each of the flower squares. SEEK
and the van descend into a grassy square.
DISSOLVE TO:
EXT. A CGI VIEW OF THE GRASSY SQUARE WITH THE VAN - A
NEBULOUS DAY OF A TIMELESS MOMENT
SEEK exits the vehicle and strolls through the yew-lined
maze. His meandering leads SEEK out of the maze and into the
open lawn, up from which a gazebo rises.
SEEK ambles across the lawn toward the gazebo. He stops on
the first of the steps leading up from the lawn into the
gazebo, looks back, and notices how the flower beds hedged by
the short-cropped yews shimmer with a variety of colors. Each
of the flower squares infuses the fog above it with the
matching color from the square, revealing a rainbow colored,
cotton-candy sky.
CUT TO:
EXT. INSIDE THE GAZEBO - CONTINUOUS
The CAMERA provides a quick glimpse of ASTRAL GUIDE RUSTY and
ASTRAL GUIDE KAFKA. Both of the characters look like SEEK at
different ages when we first see them. ASTRAL GUIDE RUSTY
presents the appearance of SEEK in 2014 while ASTRAL GUIDE
KAFKA appears like SEEK in 1972. ASTRAL GUIDE RUSTY motions
to ASTRAL GUIDE KAFKA, indicating SEEK’s arrival. ASTRAL
GUIDE RUSTY’s appearance immediately transforms from the
older SEEK into RUSTY as he looked in 1972.

6.

ASTRAL GUIDE KAFKA transforms, too, altering from the younger
SEEK to KAFKA in 1972, too.
CUT TO:
EXT. THE STEPS OF THE GAZEBO - CONTINUOUS
SEEK ascends the steps. ASTRAL GUIDE RUSTY steps forward at
the top, shrugging as he reveals himself to an astonished
SEEK, and beckoning SEEK to proceed to a seat in the gazebo
with a sweeping motion of his arm.
CUT TO:
EXT. INSIDE THE GAZEBO - CONTINUOUS
As SEEK walks in the direction indicated by ASTRAL GUIDE
RUSTY, he sees ASTRAL GUIDE KAFKA seated on a bench.
ASTRAL GUIDE RUSTY
What’s happening, Seek. We’ve been
expecting you to drop into this
cozmic circus.
ASTRAL GUIDE KAFKA
(to ASTRAL GUIDE RUSTY)
Seems to me he just dropped in from
nowhere, my man.
(to SEEK)
Join us, won't you, Seek, and have
a seat at our roundtable?
SEEK
Yeah, sure, brothers.
A small, round table materializes in the center of the gazebo
surrounded by the three benches built into the sides of the
gazebo as SEEK arrives at the seat which ASTRAL GUIDE RUSTY
indicated for him to take.
ASTRAL GUIDE KAFKA
Rusty and I were talking about the
space of familiar disinterest
between us all.
ASTRAL GUIDE RUSTY
(to SEEK)
Can you dig the trip of me and you,
and how we’re just the same person
in this zoo? Dig how freaked out it
is, because you are Kafka, too.
(MORE)

7.
ASTRAL GUIDE RUSTY (CONT'D)
It’s so fucking cozmic, man,
because all three of us, together,
are still only one.

SEEK
Am I really here?
ASTRAL GUIDE KAFKA
Nothing is real, Seek.
SEEK
Can I actually be seein’ you two
again after all these years?
ASTRAL GUIDE RUSTY
Now, man, what could you ever do
that couldn't fucking be done?
SEEK
Nothin’, I guess.
ASTRAL GUIDE KAFKA
I'd say he's astral projecting and
creating a déjà vu that hasn’t
happened yet, Rusty.
ASTRAL GUIDE RUSTY
Seek, turn off that crazy, freaked
out mind of yours. Don’t try to
pigeonhole experience into
preconceived classifications.
ASTRAL GUIDE KAFKA
Just relax, my man, and float down
life’s stream.
SEEK
Yeah, but where am I goin’?
ASTRAL GUIDE KAFKA
Wherever you’re meant to be.
SEEK
I must be dead and gone to heaven.
ASTRAL GUIDE KAFKA
Death doesn’t exist, Seek, just
transitions to other states of
consciousness where anything is
possible. In these other states,
everything that can occur will.

8.

ASTRAL GUIDE RUSTY
This state is a funky state, man,
where dreams are lucid and
fantasies come true. Whimsy
populates paradox here, and you can
meet all your friends in this crazy
zoo if you can just dig it.
SEEK’s astral body somersaults out of the gazebo. He flies
away, whisked into the psychedelic, VW van.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK’s astral body flies through a psychedelic-colored
corridor of doors. A door opens to him and the van. They pass
into and through the doorway.
DISSOLVE TO:
INT. A LONDON PUB - EARLY AFTERNOON THREE DAYS IN THE FUTURE
SEEK regains his awareness of reality from out of a trance
while sitting at a table in a pub, his wounds mostly healed.
He gulps beer from a glass mug and sets it down on the table
next to his small, pocket notebook and pen. He flips open his
notebook, considers something, picks up his pen and writes.
SOPHIE, the waitress (an attractive British woman in her
twenties) and MARYANNE walk up and stand before SEEK.
SOPHIE
Well, hello, Seek. This is my
friend, Maryanne.
SEEK
(standing to greet them)
Oh, yeah, hey Sophie, and Maryanne,
it’s nice to meet you.
SOPHIE
I thought you two should meet since
you’re both single friends of mine.
SEEK
Teamin’ up to take me down?
SOPHIE
You’re a goof, Seek. Maryanne works
evenings in a pub nearby.

9.

MARYANNE
Hi, Seek. Seems we’ve met before.
Sophie, Seek is the man I told you
about who was hurt when he rescued
me from those three ruffians.
SEEK
That night is still just a fog to
me.
MARYANNE
I shouldn’t wonder. Are you feeling
better?
SEEK
Sure I am. Would you like to sit a
while, Maryanne?
MARYANNE
I thought you’d never ask.
MARYANNE takes a seat at the table with SEEK as he sits, too.
SOPHIE
I haven't seen you in days. Where
have you been keeping yourself?
SEEK
I was in the hospital, Soph, then
recuperating at the hotel. Would
you like a beer, Maryanne?
MARYANNE
Are you sure you should be
drinking?
SEEK
Yeah, well, I’m better enough.
Anyway, the doc said I can drink
now.
MARYANNE
In that case, Sophie, I’ll have a
beer, too.
Sophie walks off to get Maryanne a beer.
SEEK
Have you been bothered by those
punks since the other night?
MARYANNE
No, Seek, I haven’t. But the police
haven’t caught them yet, either.

10.

SEEK
Well, be careful then.
MARYANNE
I am. How are you really feeling?
SEEK
Yeah, well, I still have headaches,
and the occasional dizzy spell, and
then there’s a ringing in my ears.
MARYANNE
Sounds like you really shouldn’t be
drinking.
SEEK
Maybe not, but I don’t drink much.
Mostly, I sit here and watch
people. It feels better to be out
and among them.
MARYANNE
I suppose it must.
(indicating the notebook)
Were you in the middle of
something?
SEEK
Workin’ on a poem. It’s good
therapy.
MARYANNE
Will you read it to me?
SEEK
Yeah, sure.
As he pauses momentarily before reading the poem, Sophie
returns with Maryanne’s beer, then walks away again, grinning
to herself.
SEEK (CONT’D)
(grabbing his beer)
Yeah, okay, first, here’s to makin’
new friends.
MARYANNE
I’ll drink to that.
They clink their mugs and each takes a sip from their beer.
SEEK
Yeah, now, the poem. It’s titled
‘Inarticulate Slipstreams.’
(MORE)

MARYANNE stares into SEEK’s eyes.
MARYANNE
That was brilliant. It’s gorgeous.
See though, what is hillside
necking?
SEEK
Yeah, in Los Angeles, where I grew
up, hillsides surround the suburban
valleys. As a teenager, I often
took my girlfriend at the end of
our dates to a lookout with a view
and parked my car at a secluded
overlook. We'd sit in the car, gaze
out on the lights and talk a little
while: sharin’ our feelings, our
hopes for the future, our dreams.
Then, we’d grow romantic.
MARYANNE
What a lovely image. Were you a
seductive young man?
SEEK
Not as a rule, but sometimes, I
guess.
She looks him over.
SEEK (CONT’D)
You don’t approve?

12.

MARYANNE
I didn't say that.
SEEK
Yeah, well, the poem isn't really
‘bout a neckin’ encounter.
MARYANNE
I know that, silly. It's about how
meaningful nature and memories of
sweet moments from one’s past can
be. How we should value them.
SEEK
I’m glad you got it.
MARYANNE
I think the sentiment you expressed
in the poem is an important one.
SEEK
Yeah, well, it’s easy to sleepwalk
through life, not valuin’
experiences as they occur or our
friends and loved ones.
MARYANNE
Oh yes, I agree. See though, it’s
also important to value nature and
try to protect and preserve it.
SEEK
Exactly. I lumped them all together
- experiences, relationships and
nature - because it seems to me
valuin’ life means valuin’ all
those things.
MARYANNE
I see. So, the poem is about
valuing life in all it’s
complexity.
SEEK
You expressed it better than I do.
They both drink from their beers.
I wanted
Sophie’s
you. See
shopping

MARYANNE
to stop in because
been nagging me to meet
though, I do have some
I need to take care of.

13.

SEEK
Sure. Hey, do you work tonight?
MARYANNE
Yes.
SEEK
I’ll get directions from Sophie and
stop in at your pub later. I’ll see
you tonight. Okay?
MARYANNE
I’d like that. And if you like, I
can stop back by to see you after
my shopping.
SEEK
That would be great, sweetheart.
MARYANNE
Sophie warned me you’re a flirt.
SEEK grins sheepishly.
SEEK
It’s hard not to be with someone as
attractive and intelligent as you.
MARYANNE
(standing to leave)
Luckily for you she also calls you
a harmless goof. Besides, I guess
you did rescue me.
MARYANNE walks off. SEEK’s gaze follows her out the door. He
stares off into space, entering a trance as she leaves.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK, inside the van, soars through a psychedelic-colored
corridor of doors. A random door opens.
CUT TO:
EXT. INSIDE THE GAZEBO - MID-MORNING
The fog has lifted, leaving a still overcast day. The two
spirit guides change from younger SEEK and older SEEK into
the appearances of KAFKA and RUSTY in 1972 as SEEK
materializes in the gazebo.

14.

ASTRAL GUIDE RUSTY
Pretty glib with the ol’ flappers
there, aren’t you, man?
ASTRAL GUIDE KAFKA
Are you sure flirting is the right
seduction patter, old friend?
SEEK
I’m just bein’ myself.
ASTRAL GUIDE KAFKA
One part of your yourself, maybe,
the charmer.
ASTRAL GUIDE RUSTY
I think you’re playing the clown,
Seek, and hiding behind the makeup
of that funky vibe.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK, no longer in the van, flies through the corridor of
doors. A different door opens. SEEK flies into it.
DISSOLVE TO:
INT. THE USCLA STUDENT ACTIVITY CENTER - EARLY EVENING,
THURSDAY MAY 11, 1972
SEEK, now appearing to be nineteen years of age, drops out of
a hole in the sky. He lands just inside the entrance to the
USCLA Student Activities Center.
In a large, open room, approximately 30 students assemble.
They gather in small groups, talking. Among those gathered
are: KAFKA (20 years), RASPBERRY (19 years) and ROAD TRIP (21
years), FREAKY GREG (22 years), ‘FRO BRO (21 years), THE KID
(21 years), COWGIRL (19 years), LILY (20 years), and RUSTY
(22 years). SEEK ambles over to where KAFKA stands with ‘FRO
BRO and THE KID.
BANDANA (22 years) enters the room from a door out of a side
room in the back. He stands in front of the small crowd and
motions for people to sit down.
BANDANA
Hello, everyone. Let’s all take a
seat so we can start the meeting.

15.

People sit on the floor.
SOMEONE FROM THE CROWD
What’s happening, Bandana?
BANDANA
We're here to protest the bombing
of Cambodia.
SEEK
Right on!
BANDANA
We should make it known ‘SCLA
students oppose the war.
ANOTHER STUDENT
What can we do?
BANDANA
We should do something that won't
go unnoticed. I urge all of you to
take the ROTC building with me.
A STRAIGHT LOOKING STUDENT
Won't we get arrested?
KAFKA
That's the point.
BANDANA
Right, Kafka.
A STRAIGHT LOOKING STUDENT
I don't know, Bandana. My parents
won't like bailing me out.
A murmur spreads. Many students stand up and start to leave.
SEEK stands up and walks toward BANDANA.
SEEK
Yeah, I'm with you, Bandana.
BANDANA
Right on, Seek.
SEEK and BANDANA slap palms.
SEEK
Come on, people. Kafka, join us.
KAFKA stands up and walks over to join SEEK and BANDANA.

Bandana crashes his elbow, covered with his leather jacket
sleeve, through the glass pane nearest the door handle,
reaches inside and unlocks the door.
CUT TO:
INT. INSIDE THE ROTC BUILDING - CONTINUOUS
The lights come on as the group enters. FREAKY GREG dances
through the room.
FREAKY GREG
Power to the people, man! This is,
like, outtasite.
DISSOLVE TO:
INT. INSIDE THE ROTC BUILDING - ABOUT A HALF HOUR LATER
A large crowd of students inside creates a happening in the
room. RUSTY walks over to SEEK, standing alone.
RUSTY
What a zoo, man.
SEEK
Yeah, Rusty. I wonder how many even
know what the protest is ‘bout.
RUSTY
Does it matter? Dig their presence;
keep the vibe going. It's cozmic.
RUSTY flashes a can of spray paint, and RUSTY and SEEK share
conspiratorial grins. They sneak out.
DISSOLVE TO:
EXT. THE QUAD IN FRONT OF CONQUERING ULYSSES - NIGHT
RUSTY and SEEK hide behind some bushes looking at the statue
of Conquering Ulysses which stands atop a cement pedestal on
a corner in front of the administration building. RUSTY and
SEEK dash to the statue. RUSTY sprays a peace sign on the
cement pedestal.
RUSTY
What a gas, man. I’ve always wanted
to do this.

18.

SEEK
Yeah, Rusty. But I think we better
get the fuck outta here.
RUSTY
I’m hip, Seek. Let’s split before
the campus clown-cops arrive.
CUT TO:
INT. INSIDE THE ROTC BUILDING - LATE NIGHT
SEEK returns to the protest alone. With the momentum waning,
he number of students dwindles. A buttoned down, graying man,
DEAN MCMANISH, sternly strides into the room wearing a coat
and tie.
BANDANA
Heads up everyone, Dean McManish is
here.
DEAN MCMANISH
All right, people, don’t you think
it’s about time to go home now?
A chorus of boos erupts from the remaining students.
DEAN MCMANISH (CONT’D)
If you don't leave, you'll all be
suspended.
SEEK
Yeah? You don't even know who most
of us are, Dean.
DEAN MCMANISH
Don’t make me call in security.
The students fill the room with derisive laughter.
DEAN MCMANISH (CONT’D)
You realize there are charges that
can be brought against all of you.
BANDANA
We realize that, Dean.
DEAN MCMANISH
You'll have criminal records.
BANDANA
We've weighed the consequences.

19.

DEAN MCMANISH
Then, I'll go ahead and call the
LAPD.
DEAN MCMANISH leaves the room.
DISSOLVE TO:
EXT. OUTSIDE THE ROTC BUILDING - ABOUT 2 AM
DEAN MCMANISH and an LAPD officer are joined by BANDANA and
SEEK in a conference downstairs in an outdoor parking lot.
DEAN MCMANISH
You know I don't want to put black
marks on students with arrest
records which will follow them.
BANDANA
Dean McManish, as long as the
University sanctions the presence
of the ROTC and continues to
receive and fulfill militaryindustrial complex research grants,
we have to take a stand.
The LAPD officer pulls out his Billy club and starts to slap
it into the palm of his left hand hard enough to make the
thwacking sound resound through the night.
BANDANA (CONT’D)
(to the officer)
We’re not intimidated.
(to DEAN MCMANISH)
Press coverage from busting heads
won’t be good university publicity.
DEAN MCMANISH waves the officer off; he walks away.
DEAN MCMANISH
(to BANDANA)
Well, I won't press charges. But I
will suspend everyone here.
(to SEEK)
And believe me when I tell you, I
won't have any trouble finding out
who is present.
SEEK
I certainly hope not, Dean.
DISSOLVE TO:

20.

EXT. THE LARGE STUDENT QUAD - NOON ON THE NEXT DAY
A man leaves the podium after speaking to a very large crowd.
SEEK emerges from the crowd and walks to the microphone.
SEEK
We've just heard Sen. McGovern’s
representative talk ‘bout the need
to end the war. Students are
holdin’ a sit-in at the ROTC
buildin’ right now. Yeah, you can
be part of it, too. Follow me.
As SEEK strides off in the direction of the ROTC building,
nearly all of the students gathered follow.
CUT TO:
EXT. OUTSIDE THE ROTC BUILDING - CONTINUOUS
The students crowd around the building near the wooden
stairs. SEEK ascends the stairs and stands on the landing at
the top. BANDANA emerges from within the building and steps
to the railing.
BANDANA
We want the ROTC on campus
disbanded. We want the building
converted into a Center for Peace
and Life. Stay here with us. Let
the University know how you stand.
The students start to mill away. BANDANA goes back inside,
disappointed. SEEK steps to the railing.
SEEK
Do you peeps dig what's happenin’?
Cambodians, citizens of a neutral
nation, are losin’ their homes and
farms and livestock to napalm. They
and their children are bein’ burned
alive. It's illegal for Nixon to
bomb a neutral country! Help us
make a positive out of senseless
destruction. Yeah, let’s turn this
den of death into a Center for
Life. Stay with us!
The students return and remain at the building.
DISSOLVE TO:

21.

EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK floats into
the psychedelic,
swirling gust of
corridor. A door

the corridor of doors again. He discovers
1967, VW van awaiting him. He enters it. A
energy pulls the van and SEEK through the
opens into which SEEK and the van fly.
CUT TO:

EXT. THE LAWN IN THE ENGLISH GARDEN NEAR THE GAZEBO - DAY
The gust lays the van onto the lawn in the yard next to the
gazebo on the still-overcast day. ASTRAL GUIDE RUSTY and
ASTRAL GUIDE KAFKA transform from older and younger SEEK into
the astral guide appearances of the friends from his past.
SEEK exits the van, climbs the stairs and enters the gazebo.
ASTRAL GUIDE KAFKA
Better give Seek, here, a key or
he'll be coming in through the
bathroom window soon.
ASTRAL GUIDE RUSTY
But he doesn’t have a sister named
Pam.
SEEK
Nope, I'm an only child.
ASTRAL GUIDE RUSTY
Man, I didn’t know you were a
lonely child.
SEEK
Yeah, I didn't say I was lonely; I
only said I was only.
ASTRAL GUIDE KAFKA
I think Roy Orbison might have a go
with that line, old friend.
ASTRAL GUIDE RUSTY
So, you think you’ve got a solution
to groove on, huh, Seek?
SEEK
Solution?
ASTRAL GUIDE RUSTY
To fighting wars, man.

22.

SEEK
I don’t know if I have any
solutions, but I know I’m against
wars, and killin’, and bombin’.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK, in his VW van, travels through the corridor of doors.
The colors sparkle as he spins into an open door.
CUT TO:
EXT. A SUBURBAN STREET IN THE SAN FERNANDO VALLEY - LATE
SUNDAY MORNING, MAY 14, 1972
SEEK and the van land on a cul de sac in a sleepy, suburban
neighborhood of the San Fernando Valley. SEEK drives the van
into a driveway where he parks.
CUT TO:
INT. SEEK’S FAMILY RESIDENCE - CONTINUOUS
SEEK walks into the family living room. DAD sits in a
recliner chair with a bourbon and coke on the table.
DAD
Well, hello, son.
SEEK
Hi, Dad.
DAD gets out of his chair and walks toward SEEK. DAD puts his
left arm around SEEK’s neck and roughs up the young man’s
long hair with his right hand, giving him noogies.
SEEK (CONT’D)
Ouch, Dad.
DAD
Oh, poopsie. Did I hurt you?
SEEK
Not too much.
DAD
Do you want a drink, son?

23.

SEEK
No thanks. It’s a little early.
DAD
Nonsense.
SEEK
Really, I’ll just have a coke.
DAD
Whatever you want. It’s your
birthday.
MOM comes out of the kitchen with a can of coke in her hand.
She walks over, hands SEEK the drink, and hugs him.
MOM
Happy birthday to my grown up son.
SEEK
Thanks, Mom.
They share a hug and a kiss. DAD finishes off his drink and
clinks the ice in his glass. MOM takes DAD’s empty glass.
MOM
I’ll get you a fresh drink, honey.
DAD
Thanks, dear.
MOM goes into the kitchen. DAD sits down in his chair and
SEEK sits on the couch.
DAD (CONT’D)
So, you’re about to be 19.
SEEK
Yeah, I guess so, Dad.
DAD
How about I get you a haircut for
your birthday?
SEEK
Thanks, Dad, but I’ll pass.
DAD
You’ll pass for a girl with that
hair of yours.
MOM enters from the kitchen and hands a fresh drink to DAD.
He gulps from it and sets it on the table.

24.

MOM
I have to keep cooking.
SEEK
Okay, Mom.
MOM goes back out.
DAD
I saw on the news there were
protests last week.
SEEK
Yeah, there were.
DAD takes another gulp from his drink.
DAD
Were there any protests at ‘SCLA?
SEEK
Yeah, Dad, there was.
DAD
What happened?
SEEK
There was a sit-in at the ROTC
buildin’ for a couple days.
DAD
Oh my God. You didn’t have anything
to do with it, did you?
SEEK
Yeah, I did, Dad.
DAD swigs another large gulp.
DAD
What the hell did you do?
SEEK
I was one of the ones who broke in.
I also spoke at a couple rallies.
DAD
You little shit. You’re turning
into a commie son-of-a-bitch.
DAD finishes off his drink with a large swallow.
SEEK
I’m not a commie, Dad.

25.

DAD
Anybody who takes part in protests
is a commie, damn it.
DAD walks over to SEEK. MOM walks into the room.
MOM
Now, stop it, you two. Today is not
a day for an argument.
SEEK
Yeah? It’s hard to stop one when
he’s gettin’ drunk.
MOM
Don’t say that about your father.
SEEK
He can call me a commie, but I
can’t tell him when he’s drinkin’
too much?
DAD
Not in my house you can’t you
ungrateful little punk.
SEEK
Oh, shit, here we go. The booze is
talkin’ now.
DAD, hovering over SEEK, reaches down with his left hand,
grabs SEEK by the shirt, and pulls him up off the sofa.
SEEK (CONT’D)
Lemme go.
DAD
Don’t tell me what to do.
SEEK struggles and frees himself.
MOM
You shouldn’t join protests or say
your father is a drunk.
SEEK
Fuck both of ya.
DAD takes a swing at SEEK’s jaw with his right hand and lands
a punch. SEEK is knocked to the floor.
DAD
Don’t you ever talk to your mother
or me like that you little shit.

26.

DAD stands over SEEK and, in a drunken and dizzy rage,
staggers back a couple of steps. SEEK stands up.
SEEK
Since it made you feel like a big
man to hit your son, go ahead and
take the other cheek, too, Daddy.
DAD
Get the hell out of my house you
worthless punk.
SEEK
Fuck yeah, I’m gone ol’ man.
SEEK starts to leave.
MOM
Stop it, both of you. This is
supposed to be a birthday party.
SEEK continues toward the door.
DAD
We’re not celebrating that yellow
bastard’s birthday. He’s no son of
mine.
We hear the door slam as SEEK exits.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies through the psychedelic corridor of doors and into
an opening door.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK returns to the gazebo, landing on the round table, the
sky still overcast. SEEK’s body spins in circles, coming to a
stop facing ASTRAL GUIDE RUSTY. Both guides change from older
and younger SEEK into the astral guide appearances of his old
friends as SEEK dissolves into the scene.
SEEK
How do I keep bouncin’ around like
that?

27.

ASTRAL GUIDE RUSTY
It's those funky scientists and
their probability fields.
ASTRAL GUIDE KAFKA
I think determining which
probability field happens depends
on the probability you’re after, my
man.
ASTRAL GUIDE RUSTY
What a gas, think about it, man,
all probabilities are equally
probable.
ASTRAL GUIDE KAFKA
You do realize you made that whole
scene with your father harsher than
it had to be, don’t you?
SEEK
Me? I did?
ASTRAL GUIDE RUSTY
Seek, it was when you said ‘Fuck
both of you,’ that he lost it.
ASTRAL GUIDE KAFKA
The wheel of events that followed
occurred because of the karma your
words set in motion.
SEEK
You’re sayin’ I caused all that?
His bein’ drunk and intolerant
didn’t play a part?
ASTRAL GUIDE RUSTY
You could have avoided it, man.
We’re saying that no good vibes
come from fucking passing the shit
in your life onto other people.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK’s astral body flies through the swirling colors in the
corridor of doors until it shoots through an opening doorway.
DISSOLVE TO:

28.

INT. THE ENGLISH PUB - AFTERNOON
SEEK re-enters his body. MARYANNE enters carrying shopping
bags. She walks over to SEEK and sits down. SEEK motions to
SOPHIE for two beers.
SEEK
Looks like ya finished shoppin’.
MARYANNE
I have, Seek.
SEEK
Did ya get everythin’?
MARYANNE
Yes, and I had fun, too.
SOPHIE walks up to serve the beers.
SOPHIE
Here you go, you two.
SEEK
Thanks, Soph.
MARYANNE
Thank you, Sophie.
SOPHIE walks away grinning to herself.
MARYANNE (CONT’D)
Now, tell me what brought you to
London.
SEEK
Yeah, okay, Maryanne. I’m on
vacation, and I’m lookin’ for work
while I’m here.
MARYANNE
You want to work here?
SEEK
Yeah, I wanna stay. See, I left the
US and moved to Vancouver in ‘72.
I’ve been wanderin’ around livin’
in different countries ever since.
MARYANNE
Do you like that?

29.

SEEK
Oh yeah. I enjoy travelin’ and
learnin’ ‘bout what life is like in
different places. But it is true
that it’s not always easy makin’
new friends.
MARYANNE
Why not?
SEEK
People don’t always accept an
American expatriate.
MARYANNE
Oh, I’m sorry, Seek. I guess it can
be hard moving to a new country.
SEEK
Yeah, well, the rewards come when I
do make new friends and as I learn
‘bout other cultures’ lifestyles.
MARYANNE
Yes, I see it must. What kind of
work are you looking for?
SEEK
Yeah, I work in animation.
MARYANNE
What do you do?
SEEK
Production manager. I lucked into
it in Vancouver. Later, I got an
offer to work in Montreal. I’ve
been followin’ the jobs ever since.
MARYANNE
See though, why don’t you go back
to America or come here and work?
SEEK
I’m here and lookin’ now, sweetie.
MARYANNE
(rolling her eyes)
Flirting as always. Nonetheless, I
am glad you’re here.
SEEK
Me, too.

30.

MARYANNE
How is your job search going?
SEEK
Yeah, well, the studios here are
all staffed.
MARYANNE
What are you going to do?
SEEK
I’m gonna have to make my own job.
MARYANNE
Oh. How will you do that?
SEEK
I’ll pick out a studio and show up
everyday. I’ll say, ‘I’m here; what
do you have for me to do today?’
MARYANNE
I’d like to hear more about how you
think that will work for you.
First, let me take my bags home.
I’ll be back soon.
SEEK
I like the sound of that,
sweetheart.
MARYANNE
Do you ever stop flirting?
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies through the psychedelic corridor of doors and into
an opening door.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK arrives back in the gazebo on the overcast day. ASTRAL
GUIDE RUSTY and ASTRAL GUIDE KAFKA transform from older SEEK
and younger SEEK into the astral guide appearances of his old
friends while SEEK dissolves into the scene.

31.

ASTRAL GUIDE RUSTY
There you go again, man, flirting
with the chick. On top of it,
you’re glossing over the bum trip
about why you left while painting
the bitchin’est picture possible.
ASTRAL GUIDE KAFKA
At least, my man, tell us there is
something in the way she moves or
in her smile that makes you dig her
like no one else.
SEEK
There is somethin’ ‘bout a damsel
in distress. Tryin’ to rescue her’s
what got me int’rested.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK’s astral body soars through the spinning corridor of
doors until a door opens and he dives into it.
DISSOLVE TO:
INT. SEEK’S HIPPIE PAD IN SILVER LAKE WHICH IS PERCHED ON THE
SIDE OF A HILL AND LOOKS OUT ON THE RESERVOIR - TUESDAY
AFTERNOON, MAY 16, 1972
SEEK sits on his couch. A knock is heard at the door. SEEK
opens it. RASPBERRY enters.
SEEK
Hi, Raspberry, what's happenin’?
RASPBERRY
My life is so crazy.
She walks past SEEK and into the middle of the room.
RASPBERRY (CONT’D)
My parents want me home right after
I finish finals. They expect me to
pack ahead of time. I can't do
that. I need things out. Their
pressure frustrates me.

32.

SEEK
Bummer, Raspby. Wait, aren’t we
goin’ campin’ over Memorial Day
weekend?
RASPBERRY
Oh, we are. Don't worry.
SEEK
Who else is goin’?
RASPBERRY
‘Fro Bro, Lily and Cowgirl.
SEEK
Bitchin’! Have a seat, Raspby.
RASPBERRY
I don’t have time. I just came over
to give you a birthday present.
Your birthday is Friday, and I
might not see you that day. So, I‘m
giving it to you now.
RASPBERRY reaches into her right front pocket and pulls out a
ball of aluminum foil. She opens the aluminum foil.
SEEK
What's that?
RASPBERRY
You’re birthday present, Orange
Sunshine, the trippiest acid.
SEEK
Solid. Lay it on me.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK soars playfully through the corridor of doors. He spins
and twists through a door as it opens for him.
DISSOLVE TO:

33.

EXT. OUTSIDE THE GAZEBO, ON THE LAWN - DAY
SEEK dissolves into the scene, standing on the lawn under an
overcast sky near the gazebo between ASTRAL GUIDE KAFKA and
ASTRAL GUIDE RUSTY who play croquet as they transform from
younger SEEK and older SEEK into the astral guide appearances
of his old friends.
SEEK
Are you still waitin’ for the sun?
ASTRAL GUIDE RUSTY
Nah. I can get a fucking tan just
diigging the rain, man.
ASTRAL GUIDE RUSTY takes a shot.
ASTRAL GUIDE KAFKA
Seek, as you float on the stream of
time, there’s no difference between
where you are and where you want to
be.
SEEK
What do you mean, Kafka?
ASTRAL GUIDE KAFKA
In either place, you face
challenges. There’s no where to go
to hide from them. If you fail to
learn the lessons, the challenges
just grow harder and more painful.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK is shown flying through the psychedelic corridor of
doors. A door opens and he flies into it.
DISSOLVE TO:
INT. THE ENGLISH PUB - MID-AFTERNOON
SEEK regains consciousness. He sees MARYANNE walk toward him.
SOPHIE comes to the table as MARYANNE sits in a chair.
SOPHIE
Do either of you want another beer?
SEEK
I'm good.

34.

MARYANNE
Maybe later, Sophie.
SOPHIE walks off.
MARYANNE (CONT’D)
I came back just as I promised.
SEEK
And I’m glad you did.
MARYANNE
Are you now?
SEEK
Sure I am. You don’t see a line of
women waitin’ to see me, do ya?
MARYANNE
Maybe there would be if you weren’t
such a shameless flirt. See though,
I do want to hear about that plan
of yours to get a job.
SEEK
Yeah, that. I figure it this way,
Maryanne, if I show up at a studio
everyday at the time it opens and
show people I want to work, it’s an
ice breaker. Then, I can get to
know the studio heads. I’ll grow on
them as they get to know me and
like me. Eventually, someone will
say, ‘I like that guy. We need to
find a job for him.’ It’ll take
some time, but I’m sure it’ll work.
MARYANNE
That is quite an idea.
SEEK
It’s worked for me in the past.
MARYANNE
You’ve even lived to tell about it.
SEEK grabs at the air between them, like he’s trying to catch
something. MARYANNE gives him an inquisitive look.
SEEK
Oh, that? It was like I could see
your words in the space between us.
I wanted to catch ‘em and save ‘em
so I could pull ‘em out later.

35.

MARYANNE
Silly man, why would you want to do
that?
SEEK
So I can listen to your voice even
when you aren’t around.
MARYANNE
Oh that tongue of yours. Go on,
now, stop teasing me.
SEEK
I wasn’t teasing you. I dig your
voice and accent.
MARYANNE
And I suppose you’ve been trying to
imagine it while I’m away.
SEEK
It beats listenin’ to the voice in
my head.
MARYANNE
Voice or voices?
SEEK
Now that you mention it, there are
a couple voices in there.
MARYANNE
Maybe that explains your devilish
side.
SEEK
Me? Devilish?
MARYANNE
Yes, you. Always flirting, and
teasing me.
SEEK
Darn, and I thought I was doin’
great with ya, Maryanne. But you
don’t take a thing I say seriously.
MARYANNE
How can I take you seriously with
so much insincerity coming out of
your mouth? See though, I do hope
you’ll get a job.

36.

SEEK
(ironically)
Gotta love support like that.
MARYANNE
Will you excuse me while I visit
the ladies’ loo?
SEEK
Of course.
As MARYANNE walks off, SEEK enters another trance.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK is transported through the multicolored corridor of
doors. A door opens. He slides into it.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK slowly drifts down from the overcast, multicolored,
cotton candy sky into the gazebo where he sits between ASTRAL
GUIDE RUSTY and ASTRAL GUIDE KAFKA. The astral guides
transform into the astral guide appearances of his old
friends as SEEK dissolves into the scene.
ASTRAL GUIDE KAFKA
Can you get real with the woman and
have a meaningful conversation?
SEEK
Sure I can. We’re just havin’
laughs right now.
ASTRAL GUIDE RUSTY
While you call her ‘sweetheart’?
SEEK
Is there harm in flirtin’?
ASTRAL GUIDE KAFKA
Sometimes, if it’s carried too far,
or used as a defense mechanism to
avoid being real, my man.
ASTRAL GUIDE RUSTY
Lay it on me, Seek. How do you see
yourself in the chick?

37.

SEEK
She’s intelligent, insightful,
attractive, fun and happy.
ASTRAL GUIDE KAFKA
He asked how you see yourself in
her, not what you see in her.
SEEK
I’m not sure I know what you mean.
ASTRAL GUIDE RUSTY
That’s the fucking problem, man.
ASTRAL GUIDE KAFKA
Seek, even more to the point, how
do you think she sees herself in
you and with you?
SEEK
Huh?
ASTRAL GUIDE KAFKA
If you want to grow closer to the
woman, learn to understand and
appreciate her; create a world
where only the two of you exist.
ASTRAL GUIDE RUSTY
How’re you and the chick going to
groove on each other if the only
vibe you put out is to ply her with
a few beers, share a few wise
cracks, and call her sweetheart?
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK whisks back into the corridor of doors on a sudden gust.
A door opens to him and he enters.
CUT TO:
INT. A CLASSROOM AT USCLA - NIGHT, THURSDAY, MAY 18, 1972
Students sit in the center of a classroom cleared of desks on
a rug covering the white, tile floor. In the center of the
rug burns a stick of incense. A ring of students, including
SEEK, KAFKA, RUSTY, THE KID, COWGIRL, ‘FRO BRO, LILY, and
ROAD TRIP, meditate, circled on the rug in the lotus
position.

38.

Their hands rest on their knees in dharmacackra mudras. The
professor, a young Asian man, sits on a desk in a corner of
the room.
PROFESSOR
We may sing aum now.
The students blend together into a beautiful harmony,
chanting in unison with their eyes closed.
STUDENTS IN UNISON
Aaaauuuuuuuummmmmmmmmmm.
They repeat the chant several times.
PROFESSOR
Imagine yourselves soaring among
the stars.
STUDENTS IN UNISON
Aaaauuuuuuuummmmmmmmmmm.
PROFESSOR
Imagine yourselves as single
droplets of water rolling slowly
down a pane of glass
STUDENTS IN UNISON
Aaaauuuuuuuummmmmmmmmmm.
PROFESSOR
Imagine yourselves as a placid pool
of water into which a pebble just
dropped, creating a ripple.
STUDENTS IN UNISON
Aaaauuuuuuuummmmmmmmmmm.
PROFESSOR
If the eye cannot see itself
without a mirror, how can an
experiencer experience experience?
STUDENTS IN UNISON
Aaaauuuuuuuummmmmmmmmmm.
DISSOLVE TO:
INT. A CORRIDOR INSIDE A FRAT HOUSE WHICH HAS BEEN CONVERTED
INTO A HIPPIE COMMUNE - LATER THAT NIGHT
SEEK stands in front of a door and knocks.

39.

RASPBERRY
(from inside the room)
Who is it?
SEEK
Yeah, it's me, Seek.
The door opens. RASPBERRY grabs SEEK and jerks him in.
CUT TO:
INT. RASPBERRY’S ROOM - CONTINUOUS
SEEK
You weren’t at Zen class tonight.
Are you okay?
RASPBERRY
Road Trip and I broke up today.
SEEK
Ah, Raspberry, I'm sorry. Should I
split?
RASPBERRY
No. Stay with me for a while.
The two walk to RASPBERRY’s bed and sit on it.
RASPBERRY (CONT’D)
Road Trip's been spending time with
someone else. Did you know?
SEEK
Nope. But he was sittin’ with a new
lady tonight in Zen class.
RASPBERRY
That figures. He doesn’t waste any
time. I can't believe it's over.
SEEK
What happened?
RASPBERRY
That's what I keep asking myself.
SEEK
What do you mean, Raspberry?
RASPBERRY
Am I boring?

40.

SEEK
No, not in the least.
RASPBERRY
Then, why did he break up with me?
SEEK
Yeah, I don't know. It doesn't have
to be you, ya know. It could be
him, Raspby.
RASPBERRY
Maybe his new woman is more
interesting or sexier.
SEEK
Raspberry, no one is more
int’restin’ or sexier than you.
RASPBERRY
Do you mean that?
SEEK
Yeah, of course.
RASPBERRY
Why doesn't Road Trip feel that
way?
She lays her head face down on her pillow and sobs. SEEK
reaches down and caresses her back. She lifts her torso and
falls into his arms, sobbing into the nape of his neck. SEEK
calms her by holding her. She stops crying.
SEEK
Yeah, let's go for a ride.
RASPBERRY
Where?
SEEK
Lemme surprise you.
CUT TO:
EXT. VENICE BEACH, THE CORNER OF 25TH AVE. AND SPEEDWAY NIGHT
RASPBERRY and SEEK, strolling through a Venice Beach
neighborhood, stop in front of a two story beach house.
SEEK
I used to live here.

41.

RASPBERRY
When?
SEEK
Last summer. It’s a wild
neighborhood.
RASPBERRY
In what way?
SEEK
Yeah, for instance, there was a
hippie named Herbie who drove out
from Jersey and lived in his van.
RASPBERRY
He lived in his van?
SEEK
Yeah, well, I let him shower in my
pad sometimes and occasionally fed
him a home cooked meal, too.
RASPBERRY
That was nice of you.
SEEK
He had a friend, Bob, an older guy
who lived on the streets. I think
he was a wino. Yeah, one night, I
had friends from high school over.
We were jammin’ on our guitars. It
was late. Herbie and Bob showed up.
RASPBERRY
Sounds like a party.
SEEK
Yeah, it was. Bob asked if he could
play my guitar. I handed it to him.
He cradled it in his arms with a
serious look. When he strummed it,
he just made noise. He looked
around at us and deadpanned, 'Bet
you thought I could actually play.'
(Raspberry laughs)
There were dealers all over the
place, too.
RASPBERRY
There were?

42.

SEEK
Yeah, they would knock on my door
at all hours, sometimes even at 2
or 3 in the mornin’, just to ask if
anyone wanted to buy a lid.
RASPBERRY
It sounds like an exciting summer.
SEEK
Most of it was bitchin’. But one
night, I went out with Bridget, a
girl from high school - someone
Rick and I both knew. Rick’s the
guy I shared the pad with. Yeah, we
were hangin’ out together: talkin’,
laughin’ and reminiscin’. All of us
even went skinny dippin’ in the
moonlight. Later on, Brick and
Rigid went to his room.
RASPBERRY
Damn. What did you do?
SEEK
Yeah, what could I do? I waited up.
I had to take Bridget home.
RASPBERRY
Did you like her a lot?
SEEK
I had a crush on her, but she
wasn't my ol’ lady. She wasn't
Rick's, either. She was someone we
both knew and both liked.
RASPBERRY
So, they didn't do anything wrong.
SEEK
Nope, I know. But it still hurt.
RASPBERRY
You should have let them know.
SEEK
I didn’t know what to say.
RASPBERRY
Did you know you called them Brick
and Rigid once?

43.

SEEK
I did?
RASPBERRY
Hah.
SEEK
Yeah, I had a dog while I lived
here. He was a Samoyed-Shepard mix.
I called him Alyosha, after a
Tolstoy character.
RASPBERRY
I like the name. What happened?
SEEK
I still lived here with Rick. I
didn't move to Silver Lake until
November. Yeah, in mid-October, I
came home from classes one day and
the dog was gone. I asked, 'Where's
Alyohsa?' Rick said he didn't know,
that he let the dog out into the
yard and guessed it ran away.
RASPBERRY
That's terrible.
SEEK
I started lookin’ for a place to
move after that. Hey come on!
SEEK grabs RASPBERRY’s hand and leads her off into the night
as they run toward the beach.
CUT TO:
EXT. VENICE BEACH - CONTINUOUS
SEEK and RASPBERRY hold hands as they walk, kicking sand up
at one another. They stroll down to the water's edge where
they run barefoot through the water. Then, they run back to
their shoes, grab them, and find a place to sit.
CUT TO:
EXT. VENICE BEACH - CONTINUOUS
SEEK
I dig bein’ here with ya.

44.

RASPBERRY
I’m having a good time, too.
SEEK
Life’s excitin’ when you’re around,
Raspby.
RASPBERRY
(she smiles to herself,
then looks off into the
horizon)
The first time I came here, Road
Trip brought me.
SEEK
Oh, yeah? I didn't know you'd been
here before.
RASPBERRY
He brought me here to tell me it
was time for us to become lovers.
SEEK
Oh.
RASPBERRY
But now, I have a new memory for
this place I love, and it's a fond
one that doesn't include Road Trip.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK is transported through the corridor of doors. A door
opens. He slides into it.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK slowly floats through the cotton-candy colored, overcast
sky and into the gazebo where he sits between ASTRAL GUIDE
RUSTY and ASTRAL GUIDE KAFKA. The astral guides transform
into the astral guide appearances of his old friends as he
dissolves into the scene.
ASTRAL GUIDE RUSTY
I think we can safely say you had
an ulterior motive for being cool
to that chick, man.

45.

SEEK
Well, I had a crush on her.
ASTRAL GUIDE KAFKA
But coming on to her right after
she broke up was a bit crass, don’t
you agree, old friend?
SEEK
I was just consolin’ her, helpin’
her to feel better. I wanted her to
laugh instead of cry.
ASTRAL GUIDE RUSTY
If that’s what you say, man.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK soars through the psychedelic corridor of doors. A door
opens to him and he enters it.
DISSOLVE TO:
INT. THE ENGLISH PUB - MID-AFTERNOON
MARYANNE walks toward SEEK, returning from the ladies’ loo.
She takes a seat. He’s just emerging from the trance.
MARYANNE
Seek, are you all right?
SEEK
Yeah, I’m fine, Maryanne.
MARYANNE
You seemed to be in another world.
SEEK
Yeah, maybe I was. Tell me, how did
you come to work at the pub?
MARYANNE
It was after Mum died.
SEEK
I'm so sorry.

46.

MARYANNE
Poppy was already disabled and
unable to work. I had to find a job
to take care of us.
SEEK
How old were you?
MARYANNE
Twenty-two.
SEEK
Do you have brothers or sisters?
MARYANNE
An older brother. He was already
married and had moved away.
SEEK
Did you finish school or quit?
MARYANNE
I had to quit. I was studying
medicine at St. George’s University
of London. See though, between
working and taking care of Poppy, I
had no time left for studies.
SEEK
What happened to your father?
MARYANNE
He hurt his back while working at
the shipyard. One day, something
fell from a crane.
SEEK
Can he walk?
MARYANNE
Oh yes, he gets around. Poppy can
make himself meals, clean the home,
and even go to the market. But he
likes me to take care of him.
SEEK
I don't blame him. What would
become of him if you got married?
MARYANNE
Oh, he will be fine. We've talked
about it. Poppy always says he can
take care of himself, and when that
day comes I’m not to worry.
(MORE)

47.
MARYANNE (CONT'D)
Still, working and taking care of
Poppy hasn’t left me much time to
meet anyone. See though, if I do, I
can still visit him every day and
do nice things for him.

SEEK
Do you have plans for your future?
MARYANNE
Studying medicine is out of the
question now. But, I would like to
go back to school. I don't want to
work at the pub all my life.
SEEK
What would you like to do?
MARYANNE
I’ll study to be a nurse. That way,
I can stick with my loves for
medicine and helping people.
SEEK
You'll be an excellent nurse.
MARYANNE
Thank you. Speaking of work, I
really ought to go home and get
ready. Seek, will you visit me at
the pub where I work tonight?
SEEK
There’s nothin’ I’d like more,
Maryanne.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK spins his way through the psychedelic-colored corridor
of doors. A door opens and SEEK tumbles into it.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK materializes as he tumbles out of the still overcast
cotton-candy sky and lands, sitting cross-legged, on the
round table facing ASTRAL GUIDE RUSTY while both astral
guides transform from older and younger SEEK into the astral
guide appearances of his old friends.

48.

ASTRAL GUIDE RUSTY
(to ASTRAL GUIDE KAFKA)
He's about to dig a crazy circus.
What a gas, man.
ASTRAL GUIDE KAFKA
I don't know. After a while, it
became a bit too much for me.
ASTRAL GUIDE RUSTY
But remember the first time,
feeling the groovy vibes all around
you?
ASTRAL GUIDE KAFKA
I remember coming out of it feeling
like vegetable curry.
ASTRAL GUIDE RUSTY
You're just down on using anything
now. Where’s that old cozmic vibe?
ASTRAL GUIDE KAFKA
Well, I do remember some fun. But I
know that after the trips we took,
I felt had to pay for trusting you,
Rusty.
ASTRAL GUIDE RUSTY
But that’s the funky shit about it,
Kafka. The zoo makes you pay
whether you trust or not.
SEEK
Maybe you pay the most when you
don’t trust anyone.
ASTRAL GUIDE KAFKA
No, my man. You pay the most when
no one trusts you.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC-COLORED CORRIDOR WITH MANY
DOORS - DAY
SEEK floats through the swirling, multicolored corridor of
doors and drifts into an opening doorway.
DISSOLVE TO:

49.

INT. SEEK’S HIPPIE PAD - LATE AFTERNOON, FRIDAY, MAY 19, 1972
SEEK sits on the couch. On the coffee table are several
joints. The aluminium foil with the tabs of acid is open as
is a bottle of beer. We hear a brief clip of the Moody Blues’
song, “Legend of a Mind.” SEEK picks up one of the tabs and
pops it into his mouth. Next, he takes a big gulp of beer.
DISSOLVE TO:
INT. SEEK’S HIPPIE PAD - A FEW HOURS LATER
SEEK returns from the kitchen with a beer. We hear Jimi
Hendrix playing the “Redhouse” solo from “Hendrix in the
West.” SEEK sits down on the couch, picks up a joint, lights
it and takes a hit.
SEEK stares across the room at a poster of Jimi Hendrix.
There are color splotches behind Hendrix’s face. The CAMERA
shows how, from out of the color splotches, fireworks explode
in the room in SEEK’s mind’s eye.
SEEK
Man, that is some pretty good shit,
fireworks in my livin’ room.
SEEK looks at his watch.
SEEK (CONT’D)
That LP really is long playin’.
Guess I’ve been listenin’ to it
over and over again for a couple
hours now.
SEEK stands up, walks to the stereo, turns it off, and goes
into the bathroom.
CUT TO:
INT. A CGI SHOT OF SEEK’S BATHROOM - CONTINUOUS
SEEK stands before the bathroom mirror. We view his
reflection from his perspective. His mind and perspective
shrink until his body seems gigantic. His consciousness
(through the CAMERA perspective) flies into his face, past
the skin, between the muscles, among the bones, between the
cells and into his brain. Then, it seems like everything
melts away only to ooze across some flat, black space. While
the space appears empty, it also presents a solid illusion
because the ooze seeps over the black nothingness and SEEK
stands on the ooze.

50.

SEEK (V.O.)
(SEEK’s mental voice)
I am in allusion. Wait, I meant, ‘I
am an illusion.’ Hang on. Yeah,
man, I'm both!
The ooze in the black emptiness becomes a smoky presence
which swirls around SEEK. The smoke swirls into a vortex with
SEEK in the center. A gigantic straw appears above the smoky
vortex. We hear a slurping sound as SEEK is sucked up.
CUT TO:
INT. SEEK’S HIPPIE PAD - EARLY MORNING
SEEK stands in front of the picture window looking out onto
the reservoir called Silver Lake. It is magic hour as the sun
is rising from directly behind SEEK and shining on the area
where he is looking. An orange cloud hovers over the lake.
The cloud looks like Thor with an extended arm and hand
holding a hammer. Lightning bolts emanate from the hammer.
One bolt shoots directly at SEEK, passing through the picture
window and directly into SEEK’s chest. Then, the cloud
dissipates as the orange sunshine of the morning sunrise
fades into the blue sky of day.
SEEK (V.O.)
(SEEK’s mental voice)
No time, no space, just infinite
thoughtless grace: the root of
love. Groovy.
A blackboard slate appears before SEEK which is covered with
pictures from his life. The slate is wiped clean.
SEEK
Holy, shit!
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC-COLORED CORRIDOR WITH MANY
DOORS - DAY
SEEK floats through the multicolored corridor of doors. A
door opens. He slides into it.
DISSOLVE TO:

51.

EXT. INSIDE THE GAZEBO - DAY
SEEK dissolves into the scene, sitting in the gazebo under
the overcast, cotton-candy sky in the seat between ASTRAL
GUIDE RUSTY and ASTRAL GUIDE KAFKA who transform into the
astral guide appearances of SEEK’s old friends.
ASTRAL GUIDE KAFKA
You’ve just experienced the jug
being filled, drop by drop, my man.
SEEK
I don't know what's happenin’
anymore.
ASTRAL GUIDE RUSTY
How can you know what's real, man,
when reality leaves so much cozmic
shit up to the imagination?
SEEK
That trip was wild.
ASTRAL GUIDE KAFKA
Tripping is free form meditation,
and meditation is the key that
unlocks the doors to all the hidden
rooms in your mind.
SEEK
Is that where all those images and
hallucinations come from?
ASTRAL GUIDE RUSTY
Oh, wow, man. The mind is a cozmic
storehouse without a complete
inventory. But the vibes are a gas,
Seek, and the zoo is revealed in a
fucking whole new, funky way.
ASTRAL GUIDE KAFKA
My man, remember that our feelings
wash over everyone we come into
contact with. Mind your ripples.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK spins through an opening door looming up within the
swirling psychedelic corridor of doors.
DISSOLVE TO:

52.

INT. SEEK’S HIPPIE PAD - AFTERNOON, THURSDAY, MAY 25, 1972
SEEK enters his home carrying an official looking envelope
which he opens. He inspects its contents.
CUT TO:
INT. SEEK’S HIPPIE PAD - CONTINUOUS
The CAMERA reveals a close up of the letter, a notice from
his draft board dated May 24th. The notice requires SEEK to
present himself for a pre-induction physical examination on
Monday, June 5th at 8 am.
CUT TO:
INT. SEEK’S HIPPIE PAD - CONTINUOUS
SEEK stands in the middle of the living room with the door
open. KAFKA enters the room through the open door.
SEEK
(muttering)
Just 11 more days.
KAFKA
What's the haps, my man?
SEEK hands the notice to KAFKA who reads it.
KAFKA (CONT’D)
Oh, damn, no. What's your number?
SEEK
Fuckin' fifty-five. Yeah, and I
just had my nineteenth birthday.
You know me, Kafka, I can’t kill.
KAFKA
No, it’s not your trip.
SEEK
What am I gonna do?
KAFKA
Hang in there. I'll call The Kid,
Freaky Greg, 'Fro Bro and Rusty.
We'll all get together tonight and
help you come up with a plan.
DISSOLVE TO:

53.

INT. SEEK’S HIPPIE PAD - EVENING
THE KID, RUSTY, ‘FRO BRO, FREAKY GREG and KAFKA enter. KAFKA
closes the door behind him. THE KID and RUSTY carry six packs
of beer with them. SEEK sits on the couch. A few joints rest
on the coffee table. The guys speak in subdued voices as they
enter.
‘FRO BRO
Howdy.
THE KID
What’s happening.
RUSTY
What a circus, huh, Seek?
SEEK
Peace, guys.
FREAKY GREG
(upbeat)
Who died? Man, lighten up in here.
SEEK lights up a joint, takes a hit and passes it on. THE KID
hands beers out to the other guys.
‘FRO BRO
Yup, BO-dacious stuff.
FREAKY GREG
Outtasite, man; primo stash.
RUSTY
Fuck, man, I can't believe how
funky the zoo can get when 'the
man' flexes his power.
THE KID
Apply for Conscientious Objector
status, my brother.
KAFKA
Nixon's made CO hard to get. It’s
too bad we didn't get arrested
during the protest.
‘FRO BRO
Yeah, bro', you'd have the Alice's
Restaurant excuse for getting out.
Only FREAKY GREG chuckles at the joke.

54.

‘FRO BRO (CONT’D)
Well, bro', what are you thinking
about doing?
SEEK
No clue, brother. I can't kill
anyone. If I’m inducted, I'm
probably a walkin’ corpse waitin’
to be fitted for a body bag.
KAFKA
That’s unacceptable, my man.
SEEK
I've thought about goin’ to prison
as a war resister, but that idea
doesn't appeal to me, either. I'd
spend the same years in a Federal
pen that I'd have to give the army.
What's the point?
THE KID
That’d be a waste, my brother.
KAFKA
I'd hate to see you go to prison.
‘FRO BRO
It's a bum trip, bro.'
FREAKY GREG
Man, it's, like, unnecessary.
Everybody looks over at FREAKY GREG.
FREAKY GREG (CONT’D)
Come on, man, he can book it up to
Canada.
SEEK
People really do that? Still?
FREAKY GREG
No shit, Sherlock.
Everyone nods in agreement.
FREAKY GREG (CONT’D)
There's an organization to fix you
up when you arrive, man. Here's a
book about it.
He hands SEEK a copy of the “Manual for Draft-Age Immigrants
to Canada.”

55.

FREAKY GREG (CONT’D)
They've got crash pads, Seek.
People hook you up with a room and
a job. They even feed you at first.
Like, everything's outtasite, man.
SEEK
Freaky, how do you know all this?
FREAKY GREG
(to THE KID)
Kid, do you remember Wild Cody?
THE KID
Yes, I do. What happened to him?
FREAKY GREG
Went to Canada, man. Vancouver.
‘FRO BRO
I knew him, too, bro’.
FREAKY GREG
He's diggin' it there, man.
‘FRO BRO
BO-dacious.
RUSTY
Seek, this sounds like your best
way out of this freaked out zoo.
SEEK
It might be my only way out.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK soars through the corridor of doors when another door
randomly opens. He enters it.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK dissolves into the scene sitting on the bench between
ASTRAL GUIDE KAFKA and ASTRAL GUIDE RUSTY who transform from
younger and older SEEK into the astral guide appearances of
SEEK’s old friends. The round table no longer sits in the
middle of the gazebo.

56.

Instead, under the still-overcast, cotton-candy sky, stairs
in the back form a rear exit to the gazebo and a line of
animals leads up the front to ASTRAL GUIDE KAFKA and down the
back.
A few cattle walk up to ASTRAL GUIDE KAFKA in the gazebo.
ASTRAL GUIDE KAFKA
I don’t eat meat; go graze.
A group of chickens peck their way to ASTRAL GUIDE KAFKA.
ASTRAL GUIDE KAFKA (CONT’D)
I won’t eat you, either. Go lay
some eggs.
A few lambs walk up to ASTRAL GUIDE KAFKA.
ASTRAL GUIDE KAFKA (CONT’D)
I really can’t eat you; you’re too
cute. Go play in the ivy.
A few pigs walk up.
ASTRAL GUIDE KAFKA (CONT’D)
This is just too much. Where’s your
starched, white shirts, piggies?
The pigs walk away. They are the end of the line.
ASTRAL GUIDE RUSTY
How’s a brother to get his shit
together and just be cool, keepin’
on keepin’ on, when the man gets in
his face with the fucking draft?
ASTRAL GUIDE KAFKA
The draft is a terrible thing,
Rusty. It's so arbitrary.
ASTRAL GUIDE RUSTY
Is it just the fucking draft that's
arbitrary, or all of life?
ASTRAL GUIDE KAFKA
I think it’s a bit of both, don't
you?
The round table reappears and the exit ramp vanishes, but an
anachronistic array of animals are strewn about the lawn,
including: elephants, llamas, ostriches, camels, penguins,
zebras, buffalo, and the animals from the line, as well as
tuna (swimming through the air), and a whale (resting in the
air above all the animals).

57.

SEEK
The draft sure seemed arbitrary to
me. One day, they decided it was my
turn to kill or be wasted.
ASTRAL GUIDE RUSTY
I remember that, man. It was a real
drag. I still can’t believe you got
caught up in that shit.
SEEK
I could have died for my country; I
just refused to kill for it.
ASTRAL GUIDE KAFKA
My man, I hope you keep in mind
that there is no morality unless a
person acts solely for the sake of
doing right. You only do that by
being honest with yourself and
those around you. Always, Seek.
ASTRAL GUIDE RUSTY
Listen to him, man, I grok what
he’s talking about.
SEEK begins to spin, faster and faster, until he turns into a
blur.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK, in a seated position, spins his way through the
corridor of doors and into an open doorway.
DISSOLVE TO:
EXT. ON THE LEFT RIDGE OF A GORGE, TAQUITZ INDIAN RESERVATION
- MID-MORNING, SATURDAY, MAY 27, 1972
The group of campers, SEEK, RASPBERRY, COWGIRL, ‘FRO BRO and
LILY, climb the left ridge of the gorge and hiked in until
reaching the left side of a horseshoe bend. They gather
together in some shade and take a break, drinking water and
smoking a joint.
COWGIRL
It's hot out here.

58.

‘FRO BRO
This will be a BO-dacious time,
Cowgirl. We just have this one hard
climb. Afterwards, there are no
more long hikes in the sun.
LILY
Are we getting close to being
somewhere yet?
‘FRO BRO
Yup. We cross here.
He points to the rocks making the horseshoe bend.
‘FRO BRO (CONT’D)
Then go up the face of that hill.
He points to the shale ridge face on the other side.
‘FRO BRO (CONT’D)
It’s a little steep, but you can
make it. Then, you head over there.
He points to a clump of trees, higher up on the left.
SEEK
Back in by those trees?
‘FRO BRO
Yup. If it's not dry, that's where
we should find a swimming hole.
Murmurs of relief arise to the words ‘swimming hole.’
‘FRO BRO (CONT’D)
But be careful over there.
He points to the area under the shale ridge.
‘FRO BRO (CONT’D)
Don’t stand under anyone going up
there. The climber might kick off
rocks that could come down on you.
CUT TO:
EXT. AT THE HORSESHOE BEND - CONTINUOUS
COWGIRL, RASPBERRY and LILY, carrying their backpacks, have
gathered on the other side at the point where they are to
climb the shale face. LILY climbs first.

59.

Contrary to ‘FRO BRO’s admonition, COWGIRL and RASPBERRY
stand under her. LILY makes it up without incident.
‘FRO BRO and SEEK, sitting across the gorge from the women,
yell at RASPBERRY and COWGIRL to warn whoever waits not to
stand in danger. The girls wave them off. COWGIRL climbs
next. She makes it up the incline with ease, but kicks off a
large rock which bounces down the face of the incline and
hits RASPBERRY on her left chest, above her breast but below
her clavicle. She crouches in a daze.
CUT TO:
EXT. THE POOL - NOON
The group piles their gear together in a sheltered area. The
girls shed their tops to go swimming. SEEK and ‘FRO BRO climb
to the ledge above the pool. SEEK carries a bottle of
tequila. When at the top, ‘FRO BRO lights up a joint. They
share the joint and swigs of tequila. LILY returns to shore,
puts on her top, and makes a sandwich. The guys take turns
jumping into the pool as RASPBERRY and COWGIRL lounge on a
rock rising out of the pool getting a sun tan while watching
the guys jump. ‘FRO BRO is the first to jump.
‘FRO BRO
(as he surfaces)
Righteous trip, bro’!
SEEK takes his turn.
SEEK
(surfacing)
Far fuckin’ out!
The two enjoy a few jumps. After a while, SEEK and ‘FRO BRO
swim to shore. They join the girls, who are all wearing their
tops again and eating sandwiches, by the ice chests.
RASPBERRY
Did you boys have fun?
‘FRO BRO
Yup. That’s a cool jump.
RASPBERRY
How cool is it?
SEEK
It’s a bitchin’ 20 foot drop.
RASPBERRY
Oh, bitchin’, huh?

60.

LILY
They've been off having fun.
COWGIRL
Drinking and smoking.
RASPBERRY
Swimming and diving.
COWGIRL
Now they’ve come back.
RASPBERRY
Hungry and tired.
LILY
They expect us to feed them.
COWGIRL
Then, clean up after them.
RASPBERRY
And I bet they'll take a nap, too.
SEEK and ‘FRO BRO look at each other and break into grins
that widen, ultimately bursting into laughter.
COWGIRL
They're not even the least bit
sorry about it.
DISSOLVE TO:
EXT. THE CAMPSITE - THAT NIGHT
SEEK, off by himself on a ledge above the horseshoe bend
which overlooks the gorge, meditates while the sky, which has
clouded up, bursts into a downpour. Lightning streaks across
the night while thunder bellows.
SEEK gathers up his things and runs back to the camp at the
pool where the trees offer cover from the rain. He stands in
the open, unable to see RASPBERRY or COWGIRL.
SEEK
Raspby, Cowgirl, where are ya?
A streak of lightning flashes in the darkness and SEEK sees
COWGIRL standing up, waving.
COWGIRL
Over here, Seek.

61.

He runs to COWGIRL. The girls have opened up their sleeping
bags. They use one as a bed to lay on, and the other as an
umbrella or roof. He drops his things under cover of the
opened bag above the girls and sits with them.
SEEK
Where’s ‘Fro Bro and Lily?
COWGIRL
They found a place to sleep by
themselves.
RASPBERRY
I think they want to be alone.
SEEK
Hope they have a bitchin’ time.
Another crack of lightning illuminates the sky, followed
quickly by a loud boom of thunder.
RASPBERRY
Lightning scares me.
SEEK
Yeah, I’m here, Raspby. I won’t let
anythin’ bad happen.
RASPBERRY reaches over to SEEK and embraces him. COWGIRL
comes up behind SEEK to form a group hug. The three embrace
and cuddle together as SEEK reassures RASPBERRY and COWGIRL.
SEEK (CONT’D)
Everythin’s gonna be okay. I
promise. You can relax.
SEEK sings a few bars of The Beatles’ song, “Good Night.”
COWGIRL
I’m tired. I think I’ll catch some
zs.
SEEK
Okay, g’night, Cowgirl.
RASPBERRY
Sleep well, Cowgirl.
COWGIRL lays down and falls asleep. As SEEK and RASPBERRY
huddle together, SEEK caresses the spot where the rock hit
RASPBERRY.
SEEK
Does it still hurt?

62.

RASPBERRY
No, Seek, not anymore. But what
you’re doing feels nice.
RASPBERRY kisses SEEK and, taking his hand in hers, moves his
hand to her breast. He caresses her breast in response,
reaching under her top. SEEK and RASPBERRY grow passionate,
shed their clothing, and make love as predawn changes colors
into morning and COWGIRL sleeps.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK spins through the whirling, psychedelic corridor of
doors. A door looms up and opens to him. He soars in.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK dissolves into the gazebo seated on his usual bench seat
as ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA transform into
the astral guide appearances of his old friends during what
appears to constantly remain the same time and same moment in
the overcast day.
SEEK
I’ve been wonderin’ somethin’. If
you could have chosen any world to
be born into, would this world be
what you would have chosen?
ASTRAL GUIDE KAFKA
I wouldn't choose the wars, the
disease, the famines, or the
poverty and suffering.
ASTRAL GUIDE RUSTY
Seek, this zoo isn’t a place you
can choose. But if you put out the
right vibe, then cozmic radiance
will surround you.
SEEK
So, what is your role in life?
ASTRAL GUIDE KAFKA
Roles are illusions, Seek. Don’t
buy in. Just be yourself.

63.

SEEK
Without a role, what do you earn
from life?
ASTRAL GUIDE RUSTY
The only thing to earn is what you
grok from your experiences and to
groove on each moment.
ASTRAL GUIDE KAFKA
If you learn to let go, you’ll earn
what comes to you next. You can’t
control it, but you can control how
you react to it.
SEEK
You don't offer much hope for
things in my future, then, do you?
ASTRAL GUIDE KAFKA
I didn't know we were supposed to.
ASTRAL GUIDE RUSTY
(to ASTRAL GUIDE KAFKA)
I don't think we are, man.
(to SEEK)
So, Seek, how does it feel to be in
this cozmic moment, vibing what a
gas it’s all been?
SEEK
Are you suggestin’ this is as good
as it gets?
ASTRAL GUIDE KAFKA
With all your questions, old
friend, how much do you ever know?
SEEK
Yeah well, I still can't believe
this is all there is.
ASTRAL GUIDE KAFKA
Everything there is, is all there
is. Don’t get caught up in your
dreams and expectations, my man.
ASTRAL GUIDE RUSTY
They're just a bum trip, Seek.
ASTRAL GUIDE KAFKA
By the way, you weren’t exactly
honest about your draft notice and
plans to go to Canada, were you?

64.

ASTRAL GUIDE RUSTY
Did you use the chick, man?
SEEK
No. I just didn’t see a reason to
talk ‘bout Canada yet.
ASTRAL GUIDE KAFKA
I guess a woman putting your hand
on her breast wasn’t a reason?
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies through the corridor of doors and into an opening
doorway.
DISSOLVE TO:
INT. THE ENGLISH PUB - EVENING
SEEK regains consciousness as SOPHIE approaches his table.
SOPHIE
Do you want something to drink?
SEEK
No thanks, Soph. I’m off to visit
Maryanne’s pub.
SOPHIE
Right.
SEEK
I might be back later, never know.
SOPHIE
Have fun.
CUT TO:
INT. A DIFFERENT PUB - EVENING
SEEK sits at the bar; MARYANNE tends bar behind it. A small
but noisy crowd makes the moderately busy place a lively
scene.
MARYANNE
What will you have to drink, Seek?

65.

SEEK
How ‘bout a draft beer, Maryanne.
MARYANNE grabs a glass mug and pours him a beer from the tap.
As she sets it in front of him, she seems out of sorts.
SEEK (CONT’D)
Is somethin’ wrong, Maryanne?
MARYANNE
Oh, I have to work a split. I hate
having a break in my shift. Then, I
have to go home late. That’s how I
ended up running into those
ruffians.
SEEK
What will ya do on your break?
MARYANNE
Go for a walk, I suppose.
SEEK
Yeah, if ya like, I'll join ya and
you can show me some sights.
MARYANNE
That sounds fun.
CUT TO:
EXT. A SHOP-LINED STREET - SHORTLY LATER
SEEK and MARYANNE walk out of the pub where MARYANNE works
past well lit, cheery stores. SEEK and MARYANNE window shop
as they casually stroll up the street.
MARYANNE
Oh, look at those shoes. I'd look
pretty in them, wouldn’t I, Seek?
SEEK
You're so adorable. You’d look
beautiful in anythin’ you wear.
MARYANNE
Always flirting.
SEEK
I’m bein’ honest.

66.

MARYANNE
Are you now? It’s hard to know with
you.
SEEK
Really, I am, Maryanne. I admit, I
was teasing you at first. But I
like you too much for that now.
MARYANNE
Seek, have you ever been in love?
SEEK
Once, a long time ago.
MARYANNE
Tell me about it?
SEEK
Yeah, well, there isn’t that much
to tell. It was back when I was in
college.
MARYANNE
When you were young and idealistic.
SEEK
Yeah, I guess.
MARYANNE
Hmm, seems like you’re holding
back.
SEEK
It’s difficult to explain,
Maryanne. It was complicated.
MARYANNE
I’m sure it was, Seek. Let’s go in
here. Do you mind?
SEEK
Oh yeah, get your shoes.
CUT TO:
INT. SHOE STORE - CONTINUOUS
While a shopkeeper fits MARYANNE for a variety of shoes, SEEK
sits next to her and enters another trance.
DISSOLVE TO:

67.

EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies through the psychedelic corridor of doors. One
opens up and he soars into it.
DISSOLVE TO:
INT. RASPBERRY’S CAR - MID-MORNING, MONDAY, MAY 29, 1972
RASPBERRY drives. SEEK sits shotgun. ‘FRO BRO joins COWGIRL
and LILY in the back seat, sandwiched between them.
‘FRO BRO
Hey, bro’, your life is about to
change when we get back, huh?
SEEK
Yeah, brother, just got a week
left.
RASPBERRY
What are you two talking about?
SEEK
I got some mail last Thursday.
COWGIRL
What was it?
SEEK
A notice to appear for my preinduction physical.
LILY
That’s terrible, Seek.
RASPBERRY
Why didn't you tell us sooner?
SEEK
I was afraid it would put a bummer
on the campin’ trip and I wanted us
to have somethin’ to remember.
COWGIRL
What are you going to do?
SEEK
Yeah, I’m pretty set on goin’ to
Canada.
RASPBERRY
Canada?

68.

SEEK
Yeah, Raspby, Canada. Vancouver.
That's the plan anyway.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies off through the psychedelic corridor, soaring and
spinning as an open door in the corridor twists and turns its
way to him. He flies into it.
DISSOLVE TO:
EXT. NEXT TO THE GAZEBO - DAY
As SEEK dissolves into the scene, the astral guides transform
from older SEEK and younger SEEK into the astral guide
appearances of SEEK’s old friends. SEEK stands outside the
gazebo near ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA who are
by a side of it where a patch of cement is situated between a
couple of planters under the overcast, cotton-candy sky.
ASTRAL GUIDE RUSTY flips a penny which bounces off the wall
before landing within a centimeter of it. ASTRAL GUIDE KAFKA
looks at ASTRAL GUIDE RUSTY, the lie of the penny, and then
back at ASTRAL GUIDE RUSTY.
ASTRAL GUIDE KAFKA
I think you cheated, Rusty.
ASTRAL GUIDE RUSTY innocently shrugs his shoulders.
ASTRAL GUIDE KAFKA (CONT’D)
I'm not sure how you cheated, but I
do feel certain you did.
ASTRAL GUIDE KAFKA enters a focused state. He flips his
penny. It flies from his thumb-tip, lands flat side against
the wall, slides down the wall, lands on its ridge, circles
and drops to the ground with one edge touching the wall.
ASTRAL GUIDE RUSTY
(to SEEK)
And he says I cheat.
ASTRAL GUIDE KAFKA shrugs back at ASTRAL GUIDE RUSTY. ASTRAL
GUIDE RUSTY walks over to SEEK and gets in his face.
ASTRAL GUIDE KAFKA
Who put all those funky selfish
ideas in your head, man?

69.

SEEK
What do you mean?
ASTRAL GUIDE KAFKA
(also in SEEK’s face)
You ignored what we talked about
before you went camping.
SEEK
I did?
ASTRAL GUIDE KAFKA
You did - the idea that you could
keep secrets from your friends.
ASTRAL GUIDE RUSTY
Remember? The things we said about
always being honest with yourself
and others?
ASTRAL GUIDE KAFKA
But you failed to tell the ladies
about your induction notice.
ASTRAL GUIDE RUSTY
Then, you balled a chick who was
digging you, man.
ASTRAL GUIDE KAFKA
What a callous thing to do, my man.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK hurtles back through the psychedelic corridor of doors.
A door rushes to him and opens. He hurtles into it.
DISSOLVE TO:
INT. SEEK’S HIPPIE PAD - AFTERNOON, MONDAY, MAY 29, 1972
SEEK and RASPBERRY stand in SEEK’s living room, his gear
piled on the floor.
RASPBERRY
How could you let us think
everything was fine and you'd be
back at school in the fall?
SEEK
I didn't mean to mislead anyone.

70.

RASPBERRY
But you did. You misled me.
SEEK
I just wanted one last, all-time
party for us. Yeah, I wanted the
memory for me, too. But I'm goin’
to Canada and losin’ my life.
RASPBERRY
So what?
SEEK
Didn't I deserve one last, fond
memory on the eve of my departure?
Wasn't it fittin’ that it should be
innocent, beautiful, honest, and
openly shared with close friends?
RASPBERRY
Innocent? Honest? Open? You call
hiding the draft notice and your
plan to go to Canada open and
honest? And having sex with me
innocent?
SEEK
But I didn't mean to hurt ya.
RASPBERRY
You used me. You didn't think
making love to me without letting
me know you were going away to
Canada wouldn’t matter to me?
SEEK
Oh come on, Raspby. You wanted to
make love. You initiated, not me. I
couldn't say no to you. Don’t you
know I could never say no to you?
RASPBERRY
I never would have initiated
anything if I'd known your plans.
You took advantage of me by not
telling me about the draft notice,
Canada, or any of it. I feel so
cheap!
SEEK
I didn’t hide the plan from you to
seduce you. There’s a difference.

71.

RASPBERRY
No, there isn’t. It still resulted
in us having sex, and only because
I didn’t know about the draft
notice.
SEEK
I didn't know this was gonna
happen.
RASPBERRY
You let it happen. By the way, I'm
leaving for home tomorrow.
SEEK
Why? Because of this?
RASPBERRY
Don’t flatter yourself. I have to
leave because my parents are
demanding I be home.
RASPBERRY turns and walks to the door.
SEEK
So, I'm never gonna see ya or talk
to ya again?
RASPBERRY opens the door.
RASPBERRY
That’s right.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies through the psychedelic corridor. A door opens and
he enters it.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK dissolves into the scene and sits on the bench between
ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA who transform into
the astral guide appearances of his old friends with the
overcast, cotton-candy sky above them.
ASTRAL GUIDE KAFKA
It's not a game you know.

72.

SEEK
A game?
ASTRAL GUIDE KAFKA
Life.
ASTRAL GUIDE RUSTY
He means you seem cavalier, man,
never vibing the funky truth in the
cozmic moments of life.
ASTRAL GUIDE KAFKA
Tell me, my man, what has become of
your life without her?
SEEK
Yeah, I can't say where it will go
from here, Kafka, but it hasn't
been much without her up to now.
ASTRAL GUIDE RUSTY
(to ASTRAL GUIDE KAFKA)
He's too blind to grok other’s
feelings, KAFKA. Seek only sees
what he wants to see.
SEEK
I'm tryin’ to understand what you
expect of me.
ASTRAL GUIDE KAFKA
It's not what we expect of you
that’s important, my man. It's what
you should expect from yourself.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK flies through the corridor of doors and into an opening
doorway.
DISSOLVE TO:
EXT. INSIDE THE SHOE STORE - CONTINUOUS
SEEK comes to himself as MARYANNE has selected a pair of
shoes to purchase. The two stand up and walk to the register.
SEEK
Let me get these.

73.

MARYANNE
I shouldn’t.
SEEK
Don’t be ridiculous.
CUT TO:
EXT. OUTSIDE THE SHOE STORE - CONTINUOUS
MARYANNE and SEEK recommence their walk along the shop-lined
street. SEEK carries the package with the shoes. They stop
for a moment at a corner awaiting a light to change.
SEEK
The moon is bright tonight.
MARYANNE
It’s gorgeous.
MARYANNE shivers from a chill. SEEK pulls her into his arms.
SEEK
Chilly?
MARYANNE
A little.
SEEK
If your coat isn't warm enough, you
can use mine.
MARYANNE
No, you'll freeze out here.
MARYANNE sighs as she rests her head against his chest. SEEK
strokes her hair. She pulls her face away to look at him.
SEEK
Your eyes sparkle in the moonlight.
MARYANNE
They do?
SEEK
Yeah, they do.
MARYANNE
Mmmm, it must be the company. Say,
are you hungry?
SEEK
Yeah, I'm ravenous. How ‘bout you?

74.

MARYANNE
Oh yes. I know a lovely restaurant
not far from here. Let me show you.
They stroll off along the street with SEEK’s arm around
MARYANNE’s shoulders as she walks close to him with an arm
around his waist, the package in his free hand.
CUT TO:
EXT. ANOTHER SHOPPING AREA WITH TALL BUILDINGS - CONTINUOUS
They stop at a corner where a tall building rises.
MARYANNE
We're here. There is a restaurant
on the top floor. It has windows
all around with spectacular views.
They enter, arm in arm.
CUT TO:
INT. AT A TABLE IN THE RESTAURANT - CONTINUOUS
SEEK and MARYANNE share a bottle of wine.
SEEK
Ya know, I’ve always been
fascinated by how people deal with
morality.
MARYANNE
How’s that, Seek?
SEEK
Yeah, well, it doesn’t matter what
God a person worships, what their
religion is, or even if they don’t
believe in God. Everyone believes
they have an innate sense of right
and wrong, whether through a
Guardian Angel, a spirit guide, an
indwellin’ Buddha nature, or their
conscience.
MARYANNE
Yes, I get that. See though, people
still take advantage of others, act
from greed, and break laws.

75.

SEEK
You’re right, Maryanne, they do. I
think it’s mostly for two reasons.
Either they don’t stay in the
moment, so they do things without
thinkin’ ‘bout consequences, or
they just plain act selfishly for
their momentary gratification and
other people don’t matter.
MARYANNE
So, you don’t think Hell or karmic
retribution are deterrents?
SEEK
Nope. If there were any deterrents,
people would long ago have stopped
actin’ selfishly. It’s been shown
the death penalty is no deterrent
to violent crime. I’d say that
since we still need prisons and
jails, that proves that punishment
isn’t a deterrent to any crime just
like the fear of Hell or bad karma
has failed to stop sinnin’.
MARYANNE
So, what’s the answer?
SEEK
I dunno. All I can figure out is
that people only change their
behavior when they decide they
wanna. Seems that tryin’ to scare
them out of bad behavior doesn’t
work. So, it’s gotta be by teachin’
them from a very young age the
value of good behavior.
MARYANNE
Do you think that will work?
SEEK
I dunno. It does seem that children
tend to turn out to be basically
good people when raised in homes
reflectin’ morals and ethics.
MARYANNE
That’s an oversimplification.

76.

SEEK
I s’pose. But if the old methods of
fear, threats, punishment and
intimidation don’t work, don’t you
think it’s time for a new approach?
MARYANNE
You do have a point. See though,
what brought all this on?
SEEK
I’ve been thinkin’ ‘bout somethin’.
MARYANNE
What’s that?
SEEK
Maryanne, I’m very attracted to you
- not just physically, but as a
person. I want us to keep spendin’
time together so we can keep
gettin’ to know each other.
MARYANNE
Yes? I’d like that, too.
SEEK
Yeah, well, I’ve been puttin’ on
like I haven’t made many mistakes
in my past.
MARYANNE
We all make mistakes in life, Seek.
SEEK
I just feel like it’s time I opened
up to ya ‘bout some things.
MARYANNE
All right, Seek. Go on.
SEEK
Maryanne, yeah, I’ve spent many
years runnin’ from the rejection of
my parents and my country because I
refused to go to Vietnam.
She reaches out to him and caresses his face.
SEEK (CONT’D)
So, ya see, I’m not welcome in my
country anymore and I was disowned
by my parents.

77.

MARYANNE
Oh, Seek, that is terrible.
SEEK
I also ran away from the rejection
of a woman who I wanted to be with
so badly I took advantage of her.
MARYANNE
You tried to introduce sex too
soon?
SEEK
Sorta. We had sex, but she
initiated it.
MARYANNE
Then, it sounds like you’re making
the situation seem worse than it
was.
SEEK
Yeah, I dunno. I mean, I didn’t
rape her or anythin’ like that. But
I kept somethin’ from her. What I
didn’t tell her led to us makin’
love.
MARYANNE
That’s a bit disconcerting. But you
were young. I’m sure you’ve learned
your lesson since then.
SEEK
I’m tryin’, Maryanne. That’s why
I’m tellin’ ya this. I don’t wanna
make mistakes with you.
MARYANNE
I see. Seek, you don’t have to tell
me everything right now.
SEEK
Maryanne, I have to tell ya some of
it now. You have to know who I’ve
been. I gotta stop runnin’ from
myself and I don’t wanna hide
things from ya. I want ya to know
me as a real man, not some image I
project.
MARYANNE
All right, Seek, I understand. I am
glad you told me all this.
(MORE)

78.
MARYANNE (CONT'D)
See though, things aren’t
completely rosy in my life either.
I had a failed romance when I was
young, too, and I’m not blameless
for how things worked out.

SEEK
What happened?
MARYANNE
It was after Poppy was hurt. The
man I was seeing didn’t like all
the time I spent with Poppy. He
said he felt unimportant to me.
SEEK
Was he?
MARYANNE
No. I didn’t slight him
intentionally, though now I can see
how he must have felt that way.
SEEK
He should have given ya more time
to work through the transition and
offered more understandin’.
MARYANNE
Perhaps. See though, maybe I did
shut him out. And, maybe I’ve used
that experience as an excuse for
not getting close to anyone since.
They each take a drink from their wine.
MARYANNE (CONT’D)
Then, there are problems with my
brother. He makes a lot of money,
and he could help me take care of
Poppy, but he doesn’t.
SEEK
You’re kiddin’.
MARYANNE
No. He doesn’t do anything to help.
Poppy’s pension isn’t that large.
The rents and medicines and food
prices all keep going up. I really
struggle because my earnings barely
support Poppy and me.

79.

SEEK
Have ya talked to your brother?
MARYANNE
Only until I was blue in the face.
But, we don’t talk at all anymore.
SEEK
Oh, that’s a shame.
MARYANNE
He infuriates me.
SEEK
I can see that. Ya know, you can
choose to see things differently.
MARYANNE
How so?
SEEK
You could see your brother’s
refusal to help as a gift that
allows ya to give more to your
father than money. You give him
your time, your care, and your
love. I’m sure he values them far
‘bove money, ‘bove anythin’.
MARYANNE
Interesting notion. See though, you
must do the same with your past.
Stop worrying about choices you
can’t change. Take them as gifts
that can help you avoid the same
mistakes and live joyously.
SEEK
Yeah, that’s good advice, Maryanne.
MARYANNE
Let’s share a toast.
SEEK
To what?
MARYANNE
(she raises her glass)
To your successful job search and
staying in London.
SEEK
(he lifts his glass)
And the time we’ll spend together.

80.

They smile, clink glasses, and drink to the toast.
SEEK (CONT’D)
I’m glad ya had to work a split.
MARYANNE
So am I.
CUT TO:
INT. THE TALL BUILDING, TOP FLOOR AT THE GLASS WINDOWS CONTINUOUS
Before leaving the restaurant, SEEK and MARYANNE walk to the
glass windows and look out on the city. MARYANNE stands close
to SEEK. He puts an arm around her waist. She faces him and
embraces him. Then, she pulls her face slightly away gazing
into his eyes. He returns her gaze.
MARYANNE
Kiss me.
They share a romantic kiss.
CUT TO:
EXT. THE SHOP-LINED STREET - AFTER DINNER
SEEK and MARYANNE walk back on the other side of the street
and stop in front of a large candy store.
SEEK
Darlin’, do you like candies?
MARYANNE
Do I!
SEEK
Let's go in and get ya some.
CUT TO:
INT. THE CANDY STORE - CONTINUOUS
SEEK and MARYANNE are inside the candy store. The store
sprawls with everything available in bulk.
SEEK
What do ya like?
She leads him over to the licorice sticks.

81.

MARYANNE
I love these in both the black and
the lovely red colors.
SEEK
Yeah, grab a couple bags and fill
‘em up.
She does.
MARYANNE
Can I have one more, dear?
SEEK
You can have anythin’ you want,
darlin’.
She leads him over to the chocolates. She grabs another bag
and fills it with an assortment of chocolate treats.
CUT TO:
EXT. OUTSIDE THE PUB WHERE MARYANNE WORKS - NIGHT
SEEK and MARYANNE stand in front of the pub where she works.
MARYANNE holds a big bag with the bags of candies in it. SEEK
holds the package containing MARYANNE’s shoes.
MARYANNE
Thank you for dinner, Seek, and for
my candies and the shoes.
SEEK
Maryanne, thanks for sharin’ with
me the most enjoyable night I’ve
had in years.
MARYANNE
Don't come back into work with me.
It will be busy. I couldn’t spend
time with you.
SEEK
Yeah, okay. Better take your shoes
with ya, darlin’.
SEEK hands MARYANNE the package with her shoes.
MARYANNE
Thanks, dear.
They share a warm kiss.

82.

MARYANNE (CONT’D)
Meet me back here at midnight, in
four hours.
CUT TO:
INT. THE ORIGINAL PUB - SHORTLY LATER
SEEK has a seat further back in the establishment, at a small
table. The room is dimly lit. By now, SOPHIE is off duty.
SEEK enters another trance.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK spins through the whirling, psychedelic corridor of
doors. A door looms up and opens to him. He soars in.
DISSOLVE TO:
INT. SEEK’S HIPPIE PAD - TUESDAY EVENING, MAY 30, 1972
SEEK, THE KID, ‘FRO BRO, and FREAKY GREG have gathered at
SEEK’s pad. Joints circulate. Everyone has a beer.
‘FRO BRO
Are you packed yet, bro’?
SEEK
Nope, not yet, brother. I'll take
care of packin’ tomorrow.
‘FRO BRO
When are you planning to leave?
SEEK
Yeah, I'm thinkin’ the day after
tomorrow.
THE KID
Changes, my brother's goin' through
dem changes. Are you excited about
it, or feeling down?
SEEK
Yeah, a little of both.
FREAKY GREG
It’s wild, man. Dig the haps of the
party vibe and enjoy the moment.

83.

SEEK
I am, Freaky. It’s bitchin’ that
all of you came by before I split.
FREAKY GREG
Had to do it, man. Besides, it
smells outtasite in here. We had to
taste more of your primo stash.
‘FRO BRO
Yup, it's BO-dacious.
FREAKY GREG reaches into a pocket and pulls out a folded
piece of paper. He hands it to SEEK.
FREAKY GREG
That has Wild Cody's phone number
in Vancouver, man. I told him about
you. He's expecting you to call.
He's really outtasite.
SEEK
Solid, Freaky.
SEEK puts the paper in his pocket.
SEEK (CONT’D)
I'll need a friend when I get
there. You’ve been far out.
FREAKY GREG
Dig it, man. Just glad to help.
THE KID
You'll do fine in Canada, my
brother.
‘FRO BRO
Yup, you’ll dig Wild Cody, too,
bro’. He’s a BO-dacious friend.
SEEK
You brothers are makin’ me feel
better ‘bout the move already.
FREAKY GREG
Outtasite.
THE KID
What kind of work will you look
for, my brother?
SEEK
Yeah, anythin’ I can find.

84.

A knock is heard. SEEK opens the door. RUSTY and KAFKA enter.
SEEK (CONT’D)
(to KAFKA)
Come on in, brother.
KAFKA
I take it you caught up on your
sleep after the camping trip?
SEEK
Yeah, brother. I’m feelin’ bitchin’
again. Come on in, Rusty.
RUSTY
What's happening, man. Mind if I
join the circus and add a few
cozmic, going-away good vibes?
SEEK
You're always welcome in my pad,
brother.
RUSTY
I know you have a lot of funky shit
to deal with, man. Don't let the
zoo be a drag. Keep on keepin' on
and everything will work out.
KAFKA
Right on.
SEEK
Grab a beer, brothers. Somebody
spark a jay.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK tumbles through the corridor of doors as it spins around
him. He falls into a door which opens for him.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
SEEK dissolves into the scene, sitting with ASTRAL GUIDE
RUSTY and ASTRAL GUIDE KAFKA who transform into the astral
guide appearances of his old friends. The fog lifts and the
sky clears.

85.

SEEK
You must examine the tiniest of
atomic particles. Somewhere in the
spaces between elements, amid
pregnant pauses, surgin’ through
pungent impulses, out of space and
timeless is where I am found.
ASTRAL GUIDE KAFKA
You don’t even have to look outside
to see the beauty all around you.
SEEK
This is the place known as
everywhere-always, isn't it?
ASTRAL GUIDE RUSTY
There are no places, Seek, only
cozmic vibes.
SEEK
Yeah, and there is only one moon to
shine in every pool of water.
ASTRAL GUIDE RUSTY
Yeah, man. But who is the moon and
what are the pools?
SEEK
Separation lies in the eyes of the
blind, but to those who can see,
the moon and the pools are one.
ASTRAL GUIDE KAFKA
Although gold dust is precious,
when it gets in your eyes it still
obstructs your vision.
SEEK
‘Cause in birth we come and in
death we go, always carryin’
nothin’.
ASTRAL GUIDE RUSTY
Comfort and ease are better than
poverty and struggle though, right
man?
SEEK
No, Rusty. Our treasure house lies
within and contains all we need.

86.

ASTRAL GUIDE KAFKA
Where can you find the road to
happiness?
SEEK
It lies with the road to sorrow.
ASTRAL GUIDE KAFKA
Just remember, Seek, when the mind
is your master, you live in hell.
When you are the master of your
mind, you live with the Buddha.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
A gust carries SEEK off, and be flies into and through the
corridor of doors. The gust opens a door and SEEK enters.
DISSOLVE TO:
INT. SEEK’S HIPPIE PAD - DAY, MAY 31, 1972
SEEK sits in his cleaned-up living room. SEEK answers a knock
and MOM walks in.
MOM
What's wrong, son? Your voice
sounded concerned when you called.
SEEK
Mom, I need to tell ya somethin’.
They sit on the couch.
SEEK (CONT’D)
I received my pre-induction
physical notice.
MOM
When do you have to report?
SEEK
This comin’ Monday.
MOM
I'll tell your father and we'll go
with you.
SEEK
Yeah, don’t, Mom.

87.

MOM
Why not?
SEEK
I'm not goin’. I'm leavin’ for
Canada tomorrow mornin’.
MOM
How can you do that?
SEEK
I don’t really have a choice, Mom.
MOM
Your only choice should be to stand
by your country like your father
and uncles and grandfather.
SEEK
This isn't the same kind of war.
MOM
Oh, don't give me that.
SEEK
Look, I can't kill, Mom. If I go,
I'll end up dead.
MOM
Your father was right about you.
You're not much of a man.
She opens her purse, pulls out her wallet, and takes $100
out. She hands the money to SEEK.
MOM (CONT’D)
Take it, you'll need it.
SEEK
Thanks, Mom.
As soon as he takes the money, she stands up and walks to the
door. She refuses to look at SEEK from this point on. MOM
pauses at the doorway without looking back as SEEK speaks.
SEEK (CONT’D)
I want ya to know somethin’, Mom. I
love you, both you and Dad.
MOM
(without turning her head,
but turning the doorknob)
What do you know about love?

88.

She opens the door and walks out without looking back.
CUT TO:
INT. SEEK’S HIPPIE PAD - THAT EVENING
SEEK looks out the picture window, catching the last colors
of the evening sunset. A knock resounds on the door.
SEEK
(calling out)
Yeah, come on in, Kafka.
KAFKA opens the door and enters the room.
KAFKA
How did things go with your mom, my
man?
SEEK
Not very well, brother.
KAFKA
I’m sorry to hear that.
SEEK
There’s nothin’ to be done ‘bout
it, Kafka. I can’t control how she
or Dad feel.
KAFKA
That’s true, but a real drag.
SEEK
It’s a bummer, brother. But, ya
know, there is somethin’ I can do.
KAFKA
What’s that, Seek?
SEEK
I can keep lovin’ ‘em. I don’t need
to hold a grudge. I can just accept
that’s who they are.
KAFKA
That’s a together perspective.
SEEK
I better start gettin’ it together.
I’m ‘bout to be on my own.

89.

KAFKA
What time are you leaving tomorrow
anyway, my man?
SEEK
When I get up. The earlier I go,
the sooner my new life starts.
KAFKA
Right on. That’s a good way to look
at it, Seek.
SEEK
Whaddaya say, let’s do our
meditation now, huh?
SEEK lights up a stick of incense. They each walk to a
cushion in the center of the living room. SEEK and KAFKA sit
on the cushions. They take up their lotus postures and place
their hands on their knees in dharmacakra mudras. We hear a
sound from a dripping faucet. It makes a constantly rhythmic,
dripping sound: drip, drip, pause, drip, drip, pause.
CUT TO:
INT. A CGI VIEW INSIDE SEEK’S MIND - CONTINUOUS
SEEK visualizes himself as being tiny, sitting inside a water
lily. He rests on the petals as the lily floats on a placid
pond. He sees very soft ripples circle out from the lily in
rhythm to the dripping. The moon shines in a starless sky. It
reflects in the pool. When he looks into the reflection of
the moon, he sees his face on the water superimposed over it.
Then, the moon, his reflection, the lily and the pond all
fade away as he sits in a black void.
CUT TO:
INT. A REAL VIEW OF SEEK’S HIPPIE PAD - CONTINUOUS
SEEK ceases to hear the dripping. His torso leans forward
from his hips, ending up parallel to the floor with his
forehead resting on the floor. His breathing stops.
CUT TO:
INT. A CGI VIEW OF SEEK’S HIPPIE PAD FROM HIS MENTAL VISION’S
PERSPECTIVE - CONTINUOUS
A brilliant flash of light erupts in SEEK’s mind’s eye.
SEEK’s astral body somersaults out of his physical body.

90.

SEEK floats around the ceiling, looking down on his and
KAFKA’s bodies which both glow with auras. SEEK’s body
appears lifeless as his astral body zips around the ceiling.
His mental vision reveals a shimmering web connecting all
things. From the center of the web, he sees an enormous
mechanism - gears meshing together and turning. The machinery
appears like big, brass-toothed gears. Soon, they change
shape and color. They appear in the shape of a heart while
the web looks like arteries carrying blood.
SEEK (V.O.)
(his mental voice)
What if I never return?
With that thought, he zaps back into his physical body.
CUT TO:
INT. A CGI VIEW OF SEEK’S MIND’S IMPRESSION OF BEING IN HIS
MOTHER’S WOMB - CONTINUOUS
SEEK appears tiny, floating inside the water lily. A cramped,
liquid area surrounds him. A new sound begins, loud and
resonating in a rhythm which we hear as sounding like: boomBOOM, pause, boom-BOOM, pause. Then, he gushes out.
CUT TO:
INT. SEEK’S HIPPIE PAD - CONTINUOUS
SEEK’s mind returns to the real room again. He gasps for air.
The booming ceases, replaced by the dripping sound. He opens
his eyes. SEEK lifts his body from his hips and regains the
lotus position. He takes a couple of deep breaths, then looks
over at KAFKA, also emerging from meditation.
SEEK
What a trip. How long did that
last, brother?
KAFKA
I’m not sure, probably about twenty
or thirty minutes, my man.
SEEK (V.O.)
(his mental voice)
Silence rains stampedin’ revelation
in a frozen icicle dungeon, reinin’
the corridor of time. Rain not,
suffering, upon the Reign of Love
sublime.

91.

The two men stand and face one another.
KAFKA
Seek, my man, I better head home.
You need to get some rest so you
can get up early and head out.
SEEK
I'll have to figure out how to get
along without ya now, Kafka.
KAFKA
We both will.
SEEK
I hope ya come to Vancouver some
day, brother.
KAFKA
Count on it, my man.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
Once again, SEEK flies through the corridor of doors and
through an opening door into another reality.
DISSOLVE TO:
EXT. INSIDE THE GAZEBO - DAY
The sky appears very bright now. SEEK dissolves into the
scene while ASTRAL GUIDE RUSTY and ASTRAL GUIDE KAFKA
transform into the astral guide appearances of his old
friends.
ASTRAL GUIDE RUSTY
Man, Iâ&#x20AC;&#x2122;ve always tried to groove on
my world and not let anything
change it. I refuse to let the man
and the system take control.
ASTRAL GUIDE KAFKA
Remember, my man, every moment is
an opportunity to redeem yourself
and create value out of your life.

92.

SEEK
Yeah, well, if I'm gonna leave
ripples on the pond, I at least
want ‘em to be the results of my
conscious choices.
ASTRAL GUIDE RUSTY
There you go, man. Be a cozmic
being. Live your life fully by
giving as much of yourself as you
can.
SEEK
Rusty, if anythin’ is gonna change
my world, it’s gotta be me.
The CAMERA reveals ASTRAL GUIDE RUSTY’s image morph into the
same appearance as SEEK’s older self. Immediately, ASTRAL
GUIDE KAFKA undergoes the same transformation, now presenting
the appearance of SEEK’s younger self. Then, the two astral
guides merge into one (looking like SEEK’s older self).
Finally, the single remaining image of the combined astral
guides merges into SEEK’s body.
SEEK (CONT’D)
Shit, this whole time they were me?
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK travels through the corridor of doors and enters an
opening doorway.
DISSOLVE TO:
INT. THE ENGLISH PUB - ALMOST MIDNIGHT
SEEK regains consciousness in the pub. He sits in the
shadows, in a chair at a table in the rear. He checks his
watch, leaves a tip, gathers his things and exits.
CUT TO:
EXT. OUTSIDE THE PUB WHERE MARYANNE WORKS - CONTINUOUS
SEEK scurries over to the pub where Maryanne works to meet
her at the appointed time. He arrives just as she exits.
SEEK
Hey, beautiful.

93.

MARYANNE
Hi, dear.
They embrace. Then, SEEK gazes into MARYANNE’s eyes.
SEEK
Maryanne, you’re a special woman.
It’s obvious in how ya take care of
your father, your plans for your
future, and the way ya support and
believe in me. I feel alive with
you; I’m excited about life again.
MARYANNE
This is good, isn’t it?
SEEK
Yes, Maryanne, it’s very good. I
want to hold on to the way I feel
when we’re together.
MARYANNE
Mmmm. I like that sound of that.
SEEK
Come with me to Paris, darlin’.
MARYANNE
Right now?
SEEK
Yeah, right now.
MARYANNE
But I'm not packed.
SEEK
Neither am I. We'll get what we
need when we arrive.
MARYANNE
With what money?
SEEK
I have plenty for us both.
She looks at him skeptically.
MARYANNE
I don’t know...

94.

SEEK
(interrupting her)
Maryanne, darlin’, there’s a part
of my heart I’ve never given away.
Ya know, right now, I realize how
lucky I am to know ya. I’m always
gonna be glad to have had this
moment when I loved you and felt
you loved me, even if just a
little. Darlin’, let's travel
through the Continent and really
get to know each other.
MARYANNE
That would be romantic.
SEEK
We can take our time, have fun and
grow close: no rush, no pressure.
MARYANNE
Seek, I can’t just run off to the
Continent with you. I have to
arrange time off work to take a
holiday like that. And I have Poppy
to think about, too.
SEEK
Yeah, I guess I wasn’t thinkin’.
MARYANNE
No, dear, it is a beautiful idea.
See though, as you say, we can take
our time. You need to get that job
first so you can stay in London.
SEEK
You’re right, Maryanne.
MARYANNE
I have an idea, Seek. Why don’t you
escort me home on the tube and
protect me from those ruffians. We
can see each other again tomorrow.
SEEK
Darlin’, I’d enjoy that. We’re
gonna have a lot of tomorrows.
He takes her in his arms and they kiss romantically.
CUT TO:

95.

INT. A TUBE STATION - NIGHT
SEEK and MARYANNE walk arm in arm to the train. No other
passengers wait on the landing or in the train. MARYANNE
boards. She disappears inside. SEEK, about to enter, looks at
the door. Suddenly, it appears all black, except that from
the edges, brilliant white light escapes in beams. Then, as
if the door suddenly reopens, SEEK is engulfed by the
brilliant white light which floods out of the doorway all
around him. He sees MARYANNE’s silhouette in the light and
walks toward her. SEEK steps forward into an embrace with
MARYANNE in the doorway engulfed by the light, appearing as
silhouettes. Then, the white light flashes up so brightly,
the silhouettes wash out and disappear.
DISSOLVE TO:
EXT. A CGI SHOT OF A PSYCHEDELIC CORRIDOR OF DOORS - DAY
SEEK travels through the corridor of doors falling backwards,
tumbling down and out of the corridor. He descends through
the dawn, through the clouds, and back into the hospital.
DISSOLVE TO:
INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS FROM THE
OPENING HOSPITAL SCENES
SEEK lays on the table, his astral body enters from the roof
and stops near the ceiling, looking down. The doctor and
nurses work frantically to revive him. The DOCTOR administers
electricity from the defibrillator to restart SEEK’s heart.
DOCTOR
Clear.
Nothing happens. The DOCTOR tries again.
DOCTOR (CONT’D)
Clear.
This time, SEEK’s astral body re-enters his physical body.
However, the physical body remains lifeless.
DOCTOR (CONT’D)
I’ll try one more time, but I’m not
sure he’s coming back. Clear.
The third attempt with the defibrillator brings SEEK back to
consciousness as the EKG monitor reveals his heartbeat again.

96.

DOCTOR (CONT’D)
(to NURSE)
I thought we were going to lose
him.
NURSE
So did I.
SEEK
No one’s losin’ me. Where’s
Maryanne? I gotta see her.
DOCTOR
I’m not sure now is the time for
visitors. You need rest.
SEEK
No, I have to see her now.
DOCTOR
Nurse, show the lady in.
CUT TO:
INT. THE HOSPITAL EMERGENCY ROOM - CONTINUOUS
MARYANNE enters the room.
MARYANNE
(to DOCTOR)
Is he all right?
DOCTOR
He seems to be. He asked for you.
MARYANNE
For me?
SEEK
Maryanne, is that you?
MARYANNE
It’s me. How do you know my name?
SEEK
Do you have a friend named Sophie?
MARYANNE
Yes.
SEEK
Has she been trying to get you to
meet a friend of hers named Seek?

97.

MARYANNE
Yes, she has. How do you know that?
SEEK
I’m Seek.
MARYANNE
She said she hasn’t mentioned me to
you.
SEEK
She hasn’t. Sophie never said a
word.
MARYANNE
I don’t understand.
SEEK
While I was on this table, I spent
the most transformative day of my
life with you.
MARYANNE
But it has only been a few minutes,
and I’ve been in the waiting room
the whole time.
SEEK
Maryanne, meet me at Sophie’s pub
in three days. I’ll explain
everything then.
MARYANNE
All right, Seek. Three days,
Sophie’s pub.
SEEK
It’s a date.
FADE TO BLACK.

Tripping the Light Fantastic

“Tripping the Light Fantastic,” is a screenplay for a full-length, feature film of entertaining fiction in the fantasy/romance genre which tells the story of Seek, who suffers severe head injuries while rescuing Maryanne from some toughs accosting her on a tube late one night. While in the hospital, Seek undergoes a Near-Death Experience from which astral travels ensue: taking him to Los Angeles in May of 1972 – where he relives some events from his wild hippie past and a failed love affair – to an English garden outside of time and space – where he pursues enlightenment as he meets two whimsically humorous and scathingly insightful spirit guides – and to London three days in the future – where he pursues new love with Maryanne.